tkeith

Blasphemy! I'm not in THAT league, but thank you for the error. #humbled

Alrighty, getting in early, again! Must be close to the end of the year. Listening at work, so some of this is suspect, to say the least. Track 01 - Opening line had a Charlie Rouse sound to it. Definitely not Charlie. Definitely feels like these musicians are not on the same page. It wants to work, but doesn’t quite blend. Track 02 - Quite a shift there. That melody line reminds me of something from childhood… like a Shel Silverstein kind of thing. Clearly a pianist with chops, but there’s nothing crying out a name to me. “Do you remember, Grandma’s lye soap…” That’s what I’m hearing. Track 03 - Thought this was going to be Tennessee Waltz from the intro. I know not what this is. Almost feels like a reggae take on I Shall Be Released. Track 04 - This is from Raw Materials and Residuals. Track 3 on the vinyl from this. Track 05 - Obviously Harry Carney. Doesn’t sound like Duke’s piano to me. Seems like one of the later Ellington bands (that don’t get enough due simply because the bands ahead of them were SO great). No question it’s the band — those bones. Okay, there’s the piano, it IS duke. Man, Carney could get down there! Track 06 - That’s Clifford Jordan. How Deep Is The Ocean. Not sure who the band is. Sounds like Vernell Fournier on drums. *SO* glad I got the chance to see Clifford. Man gets no due love and should get damned near ALL of it. Okay, that’s Cedar Walton, so this is older. Gah! Of course. It’s from this. Track 07 - Without a doubt, that’s Arthur Blythe. I have this, but can’t pin it, yet. That bass! Gotta be Cecil. I think it’s The Leaders, but can’t recall which album. I think Unforeseen Blessings is the only on I still have, and it’s not that. Track 08 - Sounds like the coolest Chinese restaurant ever! At first I was thinking Tomaz Stanko… then Dennis Gonzalez. I’m now convinced it’s neither. Not my favorite of the genre, but I do like it. It seems to be going for intentionally odd, but mostly pulling it off. Track 09 - Feels like it owes a nod to Horace, but not him. This band sounds like it’s several people, but I don’t think it’s any of them. I was prepared to say Lex Humphries on drums, but it doesn’t quite glide over the rhythm like he does. This cooks like hell, though. I don’t know who it is, but I want more. Track 10 - Needle drop. Feels Cuban to me. I’m finding myself putting more and more of thsi sort of thing in my collection. Song is very familiar, but that may just be the nature of the beast. Really like the arrangement here — clarinet super-imposed on low brass. Just works. Track 11 - Feel like I should know the song, but I don’t. I know that tenor… fooled me several times. I can hear the bands, but it’s not an Ellington guy. A survivor, though, and a for-real guy. Ah! Frank Wess, please. How do I not know this? Man… the way only a survivor can play. I need this. Track 12 - Filthy baritone! Man, that’s fast. Usually, stuff at this tempo rubs me the wrong way, but this is friggin’ HOT! Tenor sounds vaguely familiar… eary Jaws, maybe? Track 13 - I feel like I’m wrong, but… nope. That’s Charles McPherson, but I don’t have this. Man that dude can pay. Was just listening to Siku Ya Bibi the other day. This is after that, by a fair measure, but no question it’s Charles. I don’t have this, but I need it. Track 14 - Man, I was prepared to say Dennis Gonzalez, but then it got too pretty. Got that ECM sound, so any guesses are going to be dictated by that. Maybe Abercrombie. It’s not Dennis, but I don’t know who this trumpet is. This is really nice, though. Love that bass line. Track 15 - That pianist sounds familiar. Those horns do not (at least not as a unit). Seems crazy, but that sure as hell sounds like Gilmore on tenor. Could this be Sun Ra? Almost has to be, doesn’t it? Every time I think I have my quota of Sun Ra, I hear something like this and realize I need more.

Back to live learning and somehow, I have time to do the test in my prep block (multi-tasking). For real -- takes three times longer to prep an online class, in case anyone was wondering. A lot of great stuff in here, as well as quite a bit I didn't recognize. Track 01 - Can only assume this Abdul-Malik, again. Sounds like it, but it’s been awhile since I’ve dusted these sides off. Wait… now that sounds like Ricky Ford. And… somebody else. I was looking for J-Griff, because that’s who I remember on the album. [2nd Listen] Oh, for crissake. That’s Golson. I forget which tune, but it’s defititely AA-M. I’m more familiar with these sides than the other stuff that’s been showing up on the recent tests (and I need to fix that by getting that other stuff). Good set starter. Track 02 - A post-Coltrane guy — could well be Bergonzi. The lines feel over-practiced to me. There’s nothing ‘wrong’ with this, just seems to be missing a little attitude/purpose (and it’s in 3, so that’s usually an automatic win for me. I want to like this more than I do. Could be later Bobby — seems like his later work always sounds very different to me in terms of the sound of the instrument. Bass seems very prominent in the mix — perhaps the bassist’s record? [2nd Listen] Not Bobby. Not Gonz, either. A little too bouncy in the articulation. Right era, wrong guy. Track 03 - Anne Murray? Sadly, I only know John Valby’s lyrics, so this one takes me to a different place. It’s a very strong rendition — better than the original would lead one to believe it worthy of. Two guitarists, neither of whom is particularly familiar to me. Definite flamenco experience for the second one. This is a nice treatment of a tune in a genre that one would not necessarily expect. Well done. Track 04 - CURTIS! Absolutely LOVE this record. What a discovery when I happened across it. Love the whole set. Ray Crawford is outSTANDING on this. I mean, really, what’s not to love? First track on the B-side of this.[https://www.discogs.com/Curtis-Amy-Dupree-Bolton-Katanga/release/2633578] Track 05 - All The Things You Are, but I can’t place who buy. I like it, but want to like it more. There are moments where it feels like it should fire during the alto solo, but it becomes almost pedantic. The keyboard, which I can only assume is a clavinova… just no. The phrasing could nearlly be Phineas at points, or the Amazing Hassan. I don’t know this. I mostly like the alto, mostly dislike the keys. Almost sounded like a harpsicord, at first, and I was excited, because I remember my father playing me a record with harsicord as a kid. Of course, I can’t remember what that was, but I don’t think that’s what I’m hearing here. Track 06 - Welp, that’s Ron Carter, for sure. Not 100% sure on the turmpet — could be Nat. Ah… J. Griff fools no one. Doubling down and guessing Nat, because that sure sounds like Roy McCurdy’s gallop. Not sure the record. Nice music from the period (sounds like it’s a late-70s date). Track 07 - I love Rhodes, but this is a bit too Rhodesy even for me. Some strange crossover. Almost has a Steely Dan vibe to it, only more commercial. It’s interesting, but can’t say I love it. Track 08 - Richard Carpenter! What the hell happened to this song? I’m shocked by the number of young (under 40) musicians I’ve met who do NOT know this song. Such a great tune — especially in the neighborhood of this tempo (sorry, Miles). This is Q’s version with Lucky being the badass he be. It’s the opener on this [https://www.discogs.com/Quincy-Jones-This-Is-How-I-Feel-About-Jazz/release/4546251]. Lucky was one bad MF. Track 09 - Emily! Another song not covered enough outside of certain circles. Something openly identifiable about that pianist, but I can’t quite get the net around it. Thanks for the quick pull-together, Dmitry!

Patience -- hectic times. Thread will be coming soon. My apologies.

Randy, WOW! Upside: this test is in my wheelhouse. Downside: unable to listen completely because I’m pressed for time (gotta teach a class in 30 minutes) I WILL be returning to this for a full listen. Outstanding complilation, Randy! WARNING!!! SPOILERS! Track 05 caught my attention when I was checking the files. That drum count-of is unmistakable and I decided my class prep could wait and did the test. I'll be going back to reckon with track 10. I KNOW that on my shelves. Track 01 - Has a Von Freeman feel from the outset. Oh! No, it’s Karin Krog with Shepp (THE MASTER!). This and the record with Marsh are must haves for any Jazz guy. Obviously Mal Waldron’s Soul Eyes. SUCH a great period for Shepp! Track 02 - Hehe… this guy is staring at my from the table next to my chair right now. You’ve Changed from this. Awhile back, someone posted a semi-parody version of this tune where the woman catches her man in her dress. I can’t unhear it whenever I hear the song, now. Nothing funny about this version, though. Track 03 - Ekaya! I believe it’s this version. You’re killin’ it, man! Absolutely the most optomistic composer I’ve ever heard. LOVE his writing. Track 04 - Joe, Lazy Afternoon. This is from Pete LaRoca’s record. You’re giving Felser a run for his money for my favorite BFTs of all time. Track 05 - Here’d that count off and knew this one when I was testing the files. LOVE this. The understated circular breathing of Marcus Belgrave really makes this special. SUCH a great feel. Shame so few realize what a force Tapscott was. I have many versions of this, but this is the pride of the collection. A young Abraham Burton on alto on this, as well. Title track from this. Track 06 - Quirky version of Warm Valley. Not sure who it is. At first, I was thinking Khan Jamal, but it’s not him. Not sure it’s a total hit, but I think it’s one I’m going to need to listen to multiple times to be sure (a sign that it will win me over). Track 07 - WHOA! My childhood! This record has always bugged me. Parts of it just don’t click, other parts (like this tune) really hit. Based on the personnel, it should be an epic dessert island collection. This tune was really the standout. My dad used to torture young me (who only wanted to hear George Harrison) by blasting this. Eventually, I bought his copy from him. It’s this. Track 08 - Not sure who’s singing, but man, Cal done did her wrong. I don’t think I know the singer, but the bass sounds familiar. Nice brush work. Track 09 - Sunny! (it isn’t) The instant thought is Wes, but it’s not him. This is the version that inspired me to learn this tune. This guy was a huge discovery to me because he just wasn’t in the collection (excepting Children of Forever) in the formative years. Set closer from this. Sherman Ferguson is killin’ it on this. Track 10 - I recognize this, but can’t pull it from the brain. Those chord extensions feel like Cecil, but I”m getting more of a Jaki Byard/Dave Burrell feel from the solo. Sure sounds like Tyrone Washington’s tenor. If forced to guess, I’m feeling Grachan Moncur on bone. Gotta hope I get this later in the month. Track 11 - Gotta be OP. Yeah, there’s that grunt. Forget the name of the tune. I know he’s a devisive figure in some circles, but godDAMN could that man play! Track 12 - Yeah! Man, another forgotten writer. Max is cookin’ on this. Track 13 - Well, THERE’s Cecil. Not sure of what. Too much of this guy’s stuff gets ignored because of reputation among the Jazz Neo-cons. From this. Once again, sorry for everything going nuts -- still don't know what happened or why. Worth the work on this one!

Just a heads up -- no gag here. I was able to DL the files from Randy's link and get the page working, so if you want to be lazy, the regular player/DL is now working. Mea Culpa -- March got away from my quick, and then - naturally - everything went sideways.

Had to go back and listen, because I had no idea what I meant, either. Not sure what the hell I was typing, but I was aiming for Danish Radio Big Band. #egad

Apologies, Jim. I did this a couple of weeks back and never posted it (been that kinda spring!). I had nothing on this one. Some stuff resonated, some didn't, but I don't think I had one guess. Track 01 - No idea what to say. Certainly unique, but having trouble getting my head around it. It’s interesting, but I can’t say I’m enjoying it. Track 02 - Early on has the feel of Dizzy, but seems to discover that playing like Dizzy is impossible. My guess is European musicians playing the style. Don’t get me wrong, I could listen to this all day long. LOVE that burly tenor. Pretty clear these musicians are enjoying what they’re doing immensely. They’re not focused on technique, just kind of riding the wave. And it works — Boy Howdy it works! I mean, clearly the skill is there, but this is about the music not the skills. Huh… or IS it Dizzy? Track 03 - Yes, please. No idea, but I’ll take a whole lot of this with more on the side. Track 04 - Absofreakinlutely. No idea who or what, but I want more. Track 05 - Be right back — gotta go grab my polyester pants. The genre is a nostalgic thing, but not one I gravitate towards. Did enjoy the tasteful vibes solo, but no idea what I’m listening to. Track 06 - Girl Talk by Neil Hefti. No idea who by. Reminds me of the DNR stuff, but I don’t think that’s it. One of my favorite Hefti tunes. Track 07 - No idea. Sound reminded of the Tapscott Session recordings. Track 08 - Feel like I’m listening to This American Life (not a bad thing). It’s interesting, but again, not sure how many times I’d go back to it. I like the idea of using the voices behind the music, and it definitely creates a mood, but I kind of feel like it’s been done.

Fact. Tried to play Ursula on a gig once with Tim Webb. Love the song, but... MAN! My Dad was in the audience and said, "that's the second-best version of that song I've ever heard" Tim: "How many have you heard?" Dad: "Just the original and that one."

Finally getting to this, Ken. Sorry about the delay -- I *REALLY* need to retire. Track 01 - Not my genre, admittedly, but this sounds as if the tempo is beyond the comfort level of the player (the time is a little hitchy). My guess is a modern player playing in the style. It’s interesting, but seems to just miss the mark by a bit to my ear. Track 02 - Billie’s Bounce by a bouncy guitarist. Maybe Doug Raney? Track 03 - Variation on a theme, here. I always think Sonny Rollins when I hear a song with this feel — which is very Don’t Stop The Carnival to my ear. Tenor out of the Joe school. This has that late 80s/early 90s feel to me. Lots of amp effects on the guitar, lots of progression in the recording. Tenor could well be Joe, but not on his top day. If not, the guy owes Joe and Sonny lunch. I’m going to guess it IS Joe, circa mid-late 80s. Thinking drummer’s record, but it’s so much a “jazz” guy. Can’t think of the guy’s name, but he was on the cover of Downbeat in the late 80s. Hey wait! There’s a volume button here. /eyes roll/ Questioning the Joe call, but can’t think of anyone who has his lines down this well. I’ll stick with Joe. Liking it better with the volume up. Don’t think it’s Scofield on guitar, but it could be. Track 04 - Definitely a band I don’t know. This is a whole chunk of the genre I’m ill-informed on. Basically, the soprano in the sax section, excepting The Jazz Orchestra, is usually a sign it’s somebody I don’t know in this context. Soprano could be anybody — literally anyone from Bob Wilbur to Jeff Coffin. Has that polish that leaves me not caring a whole lot. Impressive musicianship, but sing me a song, bro. Trumpeter sounds like an older player. I know Clark Terry does the two-handed, two-horns thing, but it doesn’t sound like him to me. Track 05 - Nice, Mal Waldron density to those opening chords. The darkness makes me happy. Not Mal, though. Yesterdays, but by the time the theme is stated, it’s kind of lost me. It felt like it was going somewhere, but this was not what I was hearing. No guesses. Track 06 - Along Came Betty. Interesting arrangment. Something about the stomping is turning me off. Otherwise, I like this. Yeah. That’s really killing it for me. Just seems… forced. Track 07 - Reminds me of something that was on a recent(ish) BFT. That cut was, I believe, Paul Horn. This is trying to be a lot of things, most of them very successfully. Polite enough to be a movie/tv soundtrack, but interesting enough to be enjoyable. That trumpet player really enjoyed his Miles recordings. REALLY enjoyed them. This works in the way the … wait… all bets are off. Phil Woods. That’s Trane, so it IS Miles. (Second listen) Oh, for f***’s sake. Opening track from this. Clearly off my game, here. To finish the truncated thought, I was leaning towards the Danish Radio Big Band. Track 08 - Standards I know but not by name. Cussed iPod syndrome. Totally unfamiliar with this brass-heavy arrangment. It works, though. I want to guess someone like Dave Stryker but it seems older than that. Could be Kenny Burrell from that period of his that I am not familiar with (CTI forward). Track 09 - Yeah. Singing the song along with it, but you think I can remember the f***in’ title? Egad, getting old sucks. Mind is saying Pettiford, but can’t recall the title for the life of me. GAH! Track 10 - What’s New. Man, LOVE that tone and that breath. Got a little Giuffre in there, a little Getz… touch of Zoot. I know this guy. That’s Tommy Flanagan on piano — those voicings… so warm. Nice brush work — telling the story. OH! That’s Bobby Jaspar! Now WONDER those brushes were speaking to me. It’s from this. PERFECT use of vibrato. Track 11 - Oh, hello, bass hook. Ray Nance. Okay, BFT, you don’t get me this time — that’s gotta be Abdul-Malik. And it is. From this. Been reading William Parker’s Conversations, and there’s a great one with Walter Perkins. Two names I wouldn’t have associated prior to reading it. Is it possible Ray Nance was the most soulful person to ever walk the planet? I think so. Track 12 - Song is super familiar, but I’m thinking it’s just based on something I know. Ah… I’m thinking of the tune Curtain Call. It’s not that, but could be based on it. I don’t know these guys. Track 13 - Well, there’s Billy Higgins. And Harold Land, older. Thinking this is one of those Playboy Jazz Festival bills. And There’s Bobby. That’s Cedar behind him. Curtis Fuller. So, I was close, it’s this. Track 2. Always loved Land, but never fully appreciated how great he was until I tried to play some of those Hutcherson/Land tunes. Harold was a baaaaaaaaad man. Track 14 - You’d be so nice to come home to… even if you were listening to stringed instruments around a camp fire. Something to Shout About! Actually, I would LOVE to be around this campfire. (Tried to light one this afternoon, but the wind would not cooperate. I smell like smoke and if I close my eyes, this is the greatest drumless drum circle ever!) No clue who it is. Track 15 - Two pianists. No idea who they are, what it is, or if I like it. I know I’m not currently in this headspace and it’s stressing the f*** out of me. Gotta be newer because there are elements of Pullen, but it’s too clean. Not something I can play for the wife — she’d snap. Track 16 - More Yesterdays. Feels like I’m living in the past, here. Very facile pianist. No guess. Track 17 - Guessing this is the same as Track 14. Snowfall. Thankfully, nothing but sunlight today. It’s an odd crossover of folkish and traditional Jazz. Not sure where I am on it. Again, could make for the coolest camp fire ever, but for sitting and listening, I’m uncertain. I had nothing for much of this, but had a sweet spot. I can't ask for more in a BFT!

Hey man! I got a chuckle out of that one. I was gettin' my Joe on.

Decades ago, I recall reading a Downbeat BFT with saxophonist Bill Evans. The fifth track was from pianist Bill Evans' album Quintessence. I forget which cut they played, but he really ripped it. Described it as leaving him feeling really cold and he didn't like it at all. If you look at the personnel on that album, you'd expect it to be the album of the decade (Evans, Harold Land, Kenny Burrell). I've never liked it. I've listened and found it "ok" if I was in the mood, but really, it's a miss for me. Evans (the saxophonist) was borderline apologetic for his comments after the reveal. I didn't think he should have been. I've heard Charlie Parker records I didn't like. Ellington had some clunkers. Coltrane? Absolutely. One of the great joys of the BFT is it forces you to listen blindly. When you post your one-off responses, this can happen. It's all good. If you ask, I'll tell you I love Sam Rivers (and I do), but frequently, his cuts in the BFT leave me wanting. It is what it is. Now, WHAT IS THAT LAST TRACK!?!?!?!? Editorial note: Perhaps I'll include a cut from Aunt Angele in my next BFT. She was self taught and every song sounded exactly the same, but 9 times out of ten, you could guess the song. It was weird. One thing it had, she conveyed the joy playing music gave her. That's one thing missing from MANY pro musicians, IMHO.

Hey man, sorry I'm late to the game. End of the semester and I'm ragged. A lotta hits, a few misses. Next-to-last track on this is a KILLER! Track 01 - A little too honky tonky for my taste. This occupies that odd bridge between Funky Jazz and Rock-and-Roll that I just can never seem to get myself to agree with. Track 02 - And this is closer to the first part of that situation I described above. Sort of has that Don Pullen meets Cosby feel. I like this, even if it’s a little Magione in its overall feel. Loses enough in the trumpet solo, this could actually be Chuck. Still like the overall feel. Be nice if the reverb on the horns matched, but in general, I enjoy this. Track 03 - Nice, straight ahead, somewhat modern with the funk A-section. Maybe Bobby Shew? Track 04 - The open chords say Harold Mabern, but the rhythmic patterns say otherwise. Track 05 - Another straight-ahead feel with a touch of out? A lot familiar about that alto, and yet no guess. Nothing wrong with this one. It’s not coming to a desert island with me, but I could listen to this all day without issue. Could that be Gene on piano? (I mean, I HAVE to guess him once on your test!) Track 06 - That’s gotta be Ricky Ford, doesn’t it? Almost seems more Ricky than Ricky. Like a touch of Arnett Cobb. I’m going to hate myself a long time for not getting this one. Track 07 - The alto is all over it. That putrid bass has to go. This is the sound that kept me from being a bigger Maceo fan. Rhythm section sounds like my Aunt Angele’s organ. I don’t mean that to be flattering. Track 08 - Very few songs, by very few people, should be played at this tempo, and execution is pivotal. This one misses. Track 09 - Now this one hits on all counts. Definitely derivative of some things I’m more familiar with, but this has some Billy Harper touches in that melody, and it has the feel of Lee Morgan’s last band. Not Billy… could be Bennie Maupin. Not Lee, but somebody from the camp. Break my heart and tell me this is a band from Japan I’ve never heard of. Track 10 - Nice version of Willow Weep For Me, but not getting a definite sense of the ID. Not someone I’m overly familiar with, but a good version of the tune. Track 11 - My gut says Von Freeman. Oddly, I’ve got a different version of this tune by Von that is completely different. Tone seems a bit more spread than Von’s, though. Trying to think of a Chicago guy with a beastly tone like that. Could be Ari, but doesn’t sound close enough to Sheep and I’m not hearing any of the trademark Ari lines. Almost a Don Byas edge to that tenor. Makes me wonder if this could be a Billy Mitchell thing I’ve somehow missed. Track 12 - More Willow, seemingly from the same date. Maybe Red Holloway? Okay, that HAS to be Gene, doesn’t it? Track 13 - 100% here for this. Heard a lot of forgettable takes on this song. This is NOT that. Locked directly in. I need more of this. 5:44 “Harrgh!” YEAH! Tenor is a monster. Trumpet is not giving that vibe, but is definitely a respectable pro. I’m not as excited as the dude in the audience, but man, this track is killin’! It’s the tenor’s feature, but I’ll take seconds on this one. Drummer is all OVER it. Guessing this is not a commercial release. Track 14 - Alls I’ll say is I felt like I was being watched. It’s good to know a guy. Man! Whatever else I walk away from this test feeling, Track 13 is an absolute bitch!

Very upset at some of what I missed, here. In fact, at least four that I missed are IN MY COLLECTION! Damned situation has eliminated my commuter listening time... need to address that.

Yes. Tragedy of my job taking so much of my time that I'm only able to scan the posts. I'll pipe down and wait for the reveal!

Actually woke up Saturday morning and transcribed it. Just had to. Inherited, all of it. Conrad-Johnson amp/pre that belonged to my late uncle. A pair of Alison III speakers my Dad parted with. The CD player is the only thing NOT inherited, purchased second hand -- a Tascam that will play the iPod, as well. Shame on me for not bagging Criss. I'll let myself off for missing Chico Freeman b/c of the terrible sound (damned engineers), but... Meh.

Got to this one on the big system last night. Old fashioned hand-written notes I'm retyping. Yes... I've got cabin fever. I usually do okay on Felser's tests, but this one kicked my ass, hard. Track 1 - 70s. Song is reminiscent of Charles Tolliver's On The Nile. Aggressive tenor. No idea on the trombone (only vague guesses I will not share). Getting a Randy Brecker vibe from the trumpet, but better. Perhaps Jack Walrath? No, I like this more. Track 2 - Sounds like Kenny Burrell right off. Grooves like a sonovabitch. Not sure what's up with the mix, but clearly the guitarist's record. It's got a CTI vibe, but in a good way. Track 3 - I mean, that's gotta be Lennie, doesn't it? Tempus Fugit. Hmmm... thinking not Lennie, but who? Track 4 - Johnny Come Lately. Weird arrangement. There's something very familiar about those VERY busy drums. Could that be Han Bennink? Something very Hal Galper about the piano. Heavy Dizzy influence on the trumpet, but not Faddis. Track 5 - Larry Young feel in 3 -- I'm all in. Drumer out-Purdie's Purdie! Not Larry. Was thinking Pat Martino, but clearly this is the organist's date. Track 6 - Mingusy arrangement. But no. Clean alto sound, but very west coast. Shades of John Handy as it goes on, but seems less driven by the blues. Hmmm... Arrangement is like Mingus-meets-Slide Hampton. Track 7 - Back-to-back burners. Very clean trumpet sound. Something marchy about the drums. Makes me wonder if this could be one of Kenny Clarke's things. Track 8 - Soundtracky quality to the sound. Love that vamp. There are moments I think I know that trumpet, but I'm not sure I do. Tenor has shades of many, from Gilmore to Rouse. You're killin' me, Smalls! Track 9 - Didn't love the bass intro, but VERY MUCH love the vamp. What's going on with the sound, though? Don't think I know the tenor. Mal Waldron on piano, but what is he doing here? Is this the record with David Friesen? That would explain my reaction to the bass. Not sure of the tenor, want to like it more than I do. The effects kind of bug me. Bass sounds MUCH better in the solo here -- getting more of a McBee vibe, and that's a very good thing! Track 10 - Don't know who it is, but I smell espionage!!! I want to say Rudolph Johnson on tenor. Band has that Clark-Boland feel to it. Yeah, I'm in on this one, too. Track 11 - Has an Art Farmer feel, but I can't quite commit. Nope, not Art. I mean, it's in 3, so I've gotta have it. Sounds like maybe Barney Kessell on guitar, something about that comping. If it's Farmer and Jim Hall I'm going to scream. Track 12 - No clue. Reminds me of a tune I may put on my next BFT, though. Track 13 - You've got me -- all in. That's gotta be Lloyd McNeil (a guy I only discovered through the BFTs!). It's Tzigane from this. A lot to like here, and a BFT I know I'm going to come back to. I don't think I've every done this poorly on one of your tests. Well done, sir! SONOVA!!!!! I psyched myself out. I recognized KD, but it didn't fit right and I couldn't even bring myself to write his name down. Too chicken to commit on Farmer and missing Chico. UNACCEPTABLE! And on the BIG system, too! NO EXCUSES. I suck eggs.

I'm a George fan, but sadly, much of his output is made up of albums with two strong tracks and a lot of filler thereafter, IMHO. This one and Sound Suggestions on ECM are the standouts in my collection (if you want to save a little cash). City Gates is fair, Earth Beams is good. After that, I find them inconsistent at best. Particularly with the Adams-Pullen Quartet setting, where it became an exercise in how-fast-can-we-play. In general, that band would have benefited greatly from shaving 20BPM off the pace most of the time.

Just putting this here because my Dad posted it in the main thread. Organissimo November Blindfold Test #200 REVEAL 1. Big Alice (Don Pullen) HOWARD JOHNSON: Gravity!!! Howard Johnson,tu. Bob Stewart,tu. Dave Bargeron,tu. Earl McIntyre,tu. Raymond Chew,p. Bob Cranshaw,b. Kenwood Dennard,d. -12/95 2. Blu-a-Round (Sahib Shihab) SAHIB SHIHAB: Jazz Sahib Phil Woods,as. Benny Golson,ts. Sahib Shihab,bs. Bill Evans,p. Oscar Pettiford,b. Art Taylor,d. -11/57 3. Children of the World (Khan Jamal) KHAN JAMAL: Three Khan Jamal,vb. Pierre Dorge,g. Johnny Dyani,b. -10/84 4. Lonnie’s Lament (John Coltrane) ARI BROWN: Groove Awakening Ari Brown,ts. Kirk Brown,p. Yusef Ben Israel,b. Avreeayl Ra,d. Dr. Cuz,pc. -5/13 5. Tonk (Ray Bryant) ART FARMER: Perception Art Farmer,flgh. Harold Mabern,p. Tommy Williams,b. Roy McCurdy,d. -10/61 6. Send in the Clowns GEORGE ADAMS: Paradise Space Shuttle George Adams,ts. Rahn Burton,p. Don Pate,b. Al Foster,d. Azzendin Weston,pc. -12/79 7. A Notion (Albert Heath) SAM JONES/NIELS-HENNING ORSTED PEDERSEN: Double Bass Sam Jones,b. N-H Orsted Pedersen,b. Philip Catherine,g. Billy Higgins,d. -2/76 8. Kamal’s Gift (Hugh Ragin) HUGH RAGIN: Revelation Hugh Ragin,tp. Assif Tsahar,ts. William Parker,b. Hamid Drake,d. -9/03 9. Body and Soul AHMED ABDUL-MALIK: Spellbound Ray Nance,cnt. Seldon Powell,ts. Paul Neves,p. Ahmed Abdul-Malik,b. Walter Perkins,d. -3/64 10. Twinkle Toes (Will Smith) MAX ROACH: M’Boom Roy Brooks,cymb. Joe Chambers,vb. Omar Clay,mrb. Fred King,mrb. Max Roach,tymp. Ray Mantilla,bells. Warren Smith, Afr.bells. Freddie Waits,xylp. -7/79 11. Nothing But Love (Frank Lowe) BILLY BANG: Above & Beyond Frank Lowe,ts. Billy Bang,vi. Andrew Bemkey,p. Tood Nicholson,b. Tatsuya Nakatini,d. -4/03

July, please.

Eeesh. I missed Miles. It seemed too obvious. Surprised I didn't like the Owens cut more. And fooled by JG!? WTF is wrong with me!?

Well, I was going to hold off on this one because I had an advance listen, but I see everybody else is cooped up, as well. Track 01 - Sophisticated Alice (later Big Alice). Don't know who, doesn't matter -- it's a Pullen tune and it's a bitch. I assume that's DP on piano. Maybe not; seems a bit stiffer than Don. It's not Craig Harris. Is that actually a Euphonium? What the hell is this? Some of the lines are straight bebop (and grossly out of context), but then it flirts with being downright dirty. Stewart and HoJo are the only guys I can think of that would do something like this, but that doesn't sound like a Tuba to me. And it clearly is NOT Pullen on piano. Maybe Steve Turre? They don't *quite* pull it off, but it still works. Wondering if your throwing a curve with some newer players. Maybe Anthony Cox on piano. Arrangement is Quotey Quotenstien, but I'm loving it. Track 02 - Man! What a BITCH of a tune! [FYI -- Growing up, this guy used to make me mixed tapes like this all the time. Not a bad way to learn.] Though I'm sure I have this, it's dancing around me. It's guys I know but I'm trying too hard. Stitt? Benny Golson. Man... why is he NOT the guy every horn player loses his mind over? So that's Sahib. Could that have been Phil Woods on alto? Seems like the band on New York Scene, but I can't think of the title. Track 03 - If this isn't Sam Cooke's Wonderful World, it probably should be. Because of recent avenues your ears went down, it has me thinking Khan Jamal, and that could be right. Either that or somebody like Warren Smith. I'm about to doze here, but I'm doing it with a smile. Track 04 - ARI!!!!! How can this NOT make you smile? Two tenors just sit there, **glaring** at me while I listen to this. Ari is SUCH a baaaad mf! Track 05 - This just showed up recently on a BFT if I'm not mistaken. Tonk (Ray Bryant?), from Art Farmer's Perception. Yes please. Track 06 - How dare you. Grew up in a duplex owned by my grandparents. My grandfather told me he loved it when I played this song (transcribed it from the album; for me this was the first version I really knew beyond the one lyric). George was inspired to do this tune by Elizabeth Taylor's version. One of my first purchases from Loony Tunes in Boston. Track 07 - Swear I know the tune, but I'll be wrong. So... guitar and two basses? So there's only a handful of people this could be. I'm also positive you've played this for me once before and I was surprised. But, my memory is shit, so I get to be surprised, again! Track 08 - You're a dirty man. MY GUUUUYS! Took me forever because Assif threw me off. I couldn't come up with Ragin's name, and when I did the rest of it smashed me in my face. Lucky enough to take part in an after show jam with this rhythm section years ago in central Maine. Still have chills. #Hamid Kamal's Gift from Revelation. Track 09 - Yeah, pretty sure you played this for me recently, too. I'm always wrong if I don't try it, Sweets? If I guess him, it'll be one of the others I'll usually guess here. Gotta listen again, but I'll come back. This is killing me, because I know this is a tenor I absolutely love! Smoother than Ike. Clean and powerful. Lucky? Fifth listen, damnit. I'm going to get this guy. WAIT! That's Ray Nance! Shit! Of course! Took some sleuthing, but I got it. I'm wrong on the tenor and I would have NEVER guessed this. Track 10 - Can't get me here! Gotta be Khan Jamal! It's one of the ones I don't have, but you definitely laid this on me on a recent visit. Track 11 - Damnit! I know this. I'm sure I have it, but I'm not seeing it. It's Frank Lowe, but I'm not sure if that's Bang, I don't think so. This is a bitch, too! Drummer is a bad man. Damned digital piano. Okay, found it, but I don't have it? Don't know how that is. It's Nothing But Love from this. Okay, coach. How bad'I hit?

With apologies, very late to the game this month. Track 01 -- This sounds familiar, but the longer it goes on, the less I feel that way. Sounds like a player whose main horn is the soprano, rather than a doubler. However, the list of players I can think of who fit that description is very short, particularly in the post-Lacy era. I like the general feel, but the drummer bores the hell out of me. Seems like if there was a bit more drive, this would really cook. Soprano player has a nice sound, but when the improv tries to get too tricky, it loses it's footing to my ear, and ends up being a far less interesting statement. I don't believe I know these players. I'd like to hear more, but with a more supportive drummer. Don't know the song, but it owes much to Lacy and Monk. Track 02 -- Born to be Blue, representative of what I don't care for about 90% of Jazz vocalists. She has a nice voice, but just sing the damned song. There's a Miriam Klein record from the 70s (IIRC) featuring Dexter Gordon. If you've known me 3 seconds, you know I love Dex. I find that album almost unlistenable because she just won't shut up. I'm sure the opinion is not popular, but too many singers have to play star and ruin the music. The rhythm section is really enjoyable, and I'm even going to go so far as to suggest it's Mal Waldron on piano, because it's that good. Likewise the bass player. When the singing comes back in, it's very good at first, but then she gets all vocalist. Sorry, just my bias, but this one missus and it's all the singers fault. Track 03 -- This one is odd, but speaks directly to me. Glad to hear increasingly more exploration of this instrumentation. It's not desert island material, but it IS sheer enjoyment. Track 04 -- Billie's Bounce, my guess is by a blues guitarist, because that is not a Jazz rhythm section. Guitarist can play, though again, definitely rooted in a different style. Listened for the guitarist, in spite of the bass/drums. Almost sounds like a canned backing behind the guitar and the keys. Track 05 -- All The Things You Are. This one has all that the last one didn't. Weird comment, but reminds me of the old Music Minus One series from the 1950s. Makes me wonder if we're not dealing with Milt Hinton, Barry Galbraith, Osie Johnson, and Tyree Glenn. Again, not desert island material, but a very enjoyable cut -- mostly because they're just playing the music. There's great musicianship without competing egos. Track 06 -- Thought we were going in the direction of Caravan. Instead, feels more like someone went in that direction and avoided royalties. Not the level of musicianship of the last cut, but they mean it. Thinking it's a little newer than it sounds, but not by much. Track 07 -- Comin' Home Baby. Not going to lie, I'm a sucker for this feel. Sure sounds like a younger Ronnie Cuber, but seems too obvious. Nope. I take it back -- this guy is more raw than Ronnie (and I mean that in a good way). No new ground being broken, but I can sit through this all day long. Insert guitarist here. Could be Pat Martino, but I don't think this guy is quite there. Still, I find no fault with any of this -- maybe I'm an easy mark for this genre. That COULD be Groove Holmes, because the organist is no slouch. Seems maybe a shade off of Groove, but if it's not him, has definitely done a lot of listening to the man. I'll take extra helpings of this, please. Track 08 -- Sounds kind of like a soundtrack. I like the oddness of the instrumentation, in context. I'm getting a sense of Peter Sellers in the playful nature of the composition. I don't think it IS a soundtrack, but it oughta be. Track 09 -- Good tune. That rhythm section sound is perfect. Almost feels like this song could be done even a tad slower or more rubato. I really like this a lot, but I've got nothing on the saxophonist. Wondering if it's one of those local/regional players on one of his rare recorded dates. Again, could take a lot more of this. Beautiful song. Almost has the kind of feel of a Johnny Griffin ballad, but not that level of facility (hell, who DID?). Track 10 -- Sure has a Randy Weston feel in the first 20 seconds. That left hand is filthy, and it surely does sound like Randy. Wait, that phrasing is Billy Harper, though the sound isn't quite. This must be that duet of Randy and Billy not too long ago. Is the tune Blue Moses? Yeah, that's Billy. A little sleuthing suggests it's Blues To Senegal from this. Track 11 -- Not sure who it is, but I'll bet the ranch that's Stanley Clarke on bass. Sure sounds like McCoy's piano, too. It's McCoy, but is it Stanley? I was sure early, now I'm not. Doesn't walk like Stanley, but that opening piece was very much in the Stanley alley. I'm sticking with Stanley, but not sure what this is. Needle drop, so it could be Rites of Strings, but I'm not familiar with the music from that album. Track 12 -- Busy 70s Jazz? Reminds me of the Roy Haynes Hip Ensemble. "I have no kick against modern Jazz, Unless they try to play it too darn fast, And change the beauty of the melody, Until it sounds just like a symphony" - Chuck Berry Sure sounds like Randy Brecker of that period on trumpet. Track 13 -- 70s cheese, but I'm not proud -- I love it. The electronics bug me, but in the setting has me feeling wistful. Makes me feel like Donald Fagen on the way to a hangover. Sounds like somebody going for a hit. To my ear, they should have made it. That guitar reminds me of the guitar on Pharoah! on India Navigation. The hornline is very Mangione-influenced. Man, I'd play this stuff if asked. Track 14 -- Holy Land! I've been trying to find a chart that includes this intro. One of the first tunes my Dad taught me (he no longer owned the record, so I played notes until he heard the right one). It's not Cedar. I like the addition of the strings. Now, that sounds like Billy Higgins' gallop, so what the heck is this? Sounds like Buster Williams to me on bass. I take it back; that is either Cedar or somebody doing their best Cedar in tribute. I can hear Billy's grunt, so there is no more doubt, there. How do I not have this? Nice! A quote of Clifford's The Highest Mountain at the end of the piano solo. Must have. Track 15 -- Detest that drum sound (not the player, the recording). Recognize the song once it gets going around 1:30, but can't give you the title. I refer back to the Chuck Berry quote. These are good players, but I'd rather slow it down and hear the message. This is so fast it lacks a message, to me. Amazing ability, but the tempo is gratuitous. Bassist has a great sound (slow down so I can hear it [YOU DAMNED KIDS!!!]). This would be intense live (minus the crappy engineering). Curious what it is (particularly because of the instrumentation). Very much like the bassist. Track 16 -- Take 5, obviously. Desmond, and I assume Ed Bickert. Oh, yeah. I bought this on vinyl in college at a flea market. Live. Great quote in Desmond's notes about Bickert: "He smokes more than me, which is impossible." The way this tune should have always been done, particularly the bass. Stuff landed on both sides of me, but my ears appreciated the exercise overall. I feel like I should have known more of these people so I'm looking forward to the reveal.

Jo, post here (respond to this or add a message). If you're not Jo, well... ignore, please.

As a listener, my focus is always more on IDing the players. That and the fact that the iPod has done tremendous damage to my memory for song titles, I don't really consider standards-vs.-originals. Heck, it all mostly boils down to V-I, anyway.