tkeith

Shut the **** up! Braden was a total guess!

Curses! I'm going to say Tenor 1 on track two is Braden and tenor three is Josh Redman.

Don't think I nailed anything, but here's what I DID come up with: Track 01 - Broadway. Don’t think I know the tenor. Thinking it’s a regional guy. Really solid player, time skips at times. Of the Bergonzi generation by the sounds. The second guy is David Murray. Unmistakeable. Guy is a beast. Third guy has chops but also feel. Maybe Josh Redman? Has the history of the horn like that, but also seems very much in control, even when he’s not (a Redman trait). That’s Big George (fourth guy). This is more recent, but Big George is Big George. John Hicks on piano. I’m going to say mid-90s. A fun ride. Track 02 - Intriguing track. I like the languid groove. Some of the improvs are less inspiring to me. That choppy, 70s Wayne Shorter approach. He did it and everybody afterward felt they had to but nobody’s done it as well. This could be later Wayne. It makes me want to listen to Sun Ra and hear Gilmore do what this makes me want to hear. Track 03 - Not sure who this is. Quite sure of the list of who it isn’t. What happened to all these guys? Man, I would LOVE to go hear somebody play like this, today. Track 04 - Huh… not really the spot for a repeated A Love Supreme quote, but hey, that’s just me. Okay, that reaffirms my initial thought — James Carter on sopranino. I assume this is James’ organ trio (Gerard Gibbs, Dr. Professor Leonard King), but not sure who the guitarist is. If James could just forget he is James for a few minutes, he would be scary. I mean, he IS scary, but… I mean, it’s amazing what he can do with a saxophone, but you don’t need to show me ALL of it on EVERY track. Yes, that is Gerard, so I’ll go ahead and double down that it’s also Leonard King. Track 05 - Not sure, but love the groove. Love that Bari sound. BALLSY Bari sound. Of the Carter generation, but more controlled than JC. Also, somebody owes Eddie Harris some royalties. Hummy keyboardist doesn’t excite me. Sounds like Jeff Coffin on tenor to me, but I wouldn’t expect him to essentially layout on a cut like this. Track 06 - Huh. Heard Big George earlier, and he was the first guy I ever heard play this (yes, I heard his version before Newk’s; likely not true, but when I heard it, I wasn’t awake to the music, yet). Not sure of the tenor, other than I’ve heard him. Okay, there’s James, again. Could the tenor maybe be Don Braden? Track 07 - Sounds like Cedar Walton to me at first. And by 52 seconds I’ve talked myself out of that. Had hopes for the way this started, but — and I think it’s the bass — it’s just not firing. Actually liking the pianist, but my ear wants a nice, loping, Connie Kaye feel coming from a trap kit. This needs that. Yeah, loving the pianist at 2:12. Great time, but this just calls for that ringing ride cymbal. Bassist seems to be taking a nap. He’s playing everything an octave higher than I want. I was leaning George Mraz, but the sound is wrong. Walton/Mraz was my first thought in the beginning. Like to hear some more of this record. NHOP on bass? I could be convinced to go back to Walton at 6:40. I’m going to go with Walton/NHOP. Final guess, moving on. Track 08 - Don’t care for that bass line. Again, like the piano. Stevie Wonder tune. Forget the name. Could be a bunch of peeps. I mean… there’s times I want to go with my standard BFT guess of Gene Harris… Track 09 - Respectable take on I’ll Remember April, but I don’t know who it is. Track 10 - Loving the pianist on this one, too. This whole track works. Always loved the song. Just before the 3 minute mark, really sounded like Tommy Flanagan, but on the whole, seems flashier. Thanks for the listen!

Repeatedly victimized by my upbringing and limited exposure to the current state of things with my frequent comments about "this guy". You'd think Erica Lindsay would have taught me my lesson.

Good listen, Bill! Oddly, it just worked out that my wife came home between tracks 6 and 7 so I took a break. It seems like the test shifts at that point. Here's my expanded thoughts, such as they are: Track 01 - Rhodesie. Early on, I wasn't feeling this, but when it broke into that Woody-Shaw-Love-Dance groove, I was in . In spite of the bass. I am ashamed of this, but this reminds me of a Herb Alpert tune that was on pop radio when I was going up (soundtrack to the infamous Luke-and-Laura rape scene on General Hospital). Ah, yes... that era when playing a soprano did not require one to play in tune [OUCH!]. That's a shame, because that reedman takes a giant dump on this groove. I would be critical of the tenor player, but he takes exactly the approach I would, and I don't wish to be a hypocrite. Track 02 - Strange. Like, you know, meeting someone you don't know in a really nice place. Guitarist had that Ben Monder thing going, but is clearly a predecessor, so I shouldn't say it that way. Love the tenor. Has a touch of Dexter, but is a modern player. Early on I'm leaning Chico Freeman, but may be a cut above that. Man, I love this. Taking a tune that, well... it is what it is... and doing something unique with it. This is perfect. Not Chico, but I'm in the right neighborhood. All over this. Must have. Track 03 - Man! Same vibe. Dex-ish, modern player. Has less of the nostalgia of the previous cut, but still very much working. Right up until the harp... I mean... sort of works, but I would have preferred it to stay where it was going. Synth strings later are a killer, but I still like the cut. Why do I not know this player? Track 04 - Oh! I thought for sure this was going to be Fela's Zombie. Isn't, but has the right feel. In fact, probably a tad more musical than Fela. What a great groove! Track 05 - Has a mid-70s Don Pullen feel (not him -- nowhere near that aggressive). Maybe even a Pharoah feel to the melody. Could be Joe Bonner. In fact, doubling down on Joe Bonner. Head borrows a bit from Wayne Shorter's Yes Or No. Again, has that Chico vibe. This guy has a bit more of Pharoah in him in than Chico. Sort of like Chico towards George Adams, but with more shedding chops. Could actually be Chico -- got that... that thing. Could actually be Dannie Richmond on drums -- has that frenetic thing he taps into. Hints of John Hicks on piano, but not him. Maybe Michael Cochrane? Track 06 - Beastly, post-Coltrane tenor. Not Wendell Harrison, but in that neighborhood. Damn it, Bill! You're going to cost me money! That is one manly sounding tenor! Almost an Ed Blackwell sound to the toms, but the rhythm is wrong. Digging the tenor, but the drummer I am not sold on. Maybe Franklin Kiermeyer? Wants to be Elvin, but too much Buddy Rich in there. He seems to be holding the tenor back, to my ear. I'd still buy this in a heartbeat -- tenor is a beast! Track 07 - Another Rhodesie cut. This one seems like early math-Jazz to me. Seems to lack the groove of the other cuts. Gets a little cute with the middle-eastern themes for me. Track 08 - This one is missing... for the same reason as the last cut, only more so. A lot of the music in my area is in this vein, and I'm just not hearing it. Very much out of that Bill Bruford/Brian Blade school. Track 09 - I like the version. On something like this, I'm less bothered by the hybrid feel. I'm gonna guess Kamasi, because I *almost* like it. Track 10 - Has a Zappa feel to me. Yeah, I'm pretty confident -- that's Frank being very controlled on the guitar. Thanks for the ear candy!

Finally got around to this. A lot of nice stuff in here (even that last cut). Track 01 - Jump For Joy, but by whom? Not an alto I recognize. In fact, sounds more like a tenor player playing alto. Phrasing seems to be out of a similar school to Plas Johnson. I'm calling this one not Gene (which means I'll be wrong). Not sure it's one I'd spin often, but if it came on somewhere, I'd be happy it did. Track 02 - Jumpin' With Symphony Sid. Later recording. As it goes on, I'm more convinced it's a more recent player. Doesn't seem to have that pure swing feel (definitely has some signs of the post-Coltrane influence). Something doesn't quite gel. I think it's the time. Drums are a bit... not stiff, but they just seem to lack natural swing. Tenor... can't put my finger on it. It's more of a modern sound, and it doesn't completely fit what he's playing. Again, I'm not sold, but if it came on the radio, I'd probably be into it. Ah! A clue! It's live. That could explain some of what I'm hearing. The audience doesn't seem too engaged, and that's the feel I'm getting. Organ is fine, but man, those drums... just not doing it for me. Tenor is clicking more second time around. I do not care for the drummer. Track 03 - This already has a better feel. Even though the keys are angular, the drummer is firing and it's clicking. Hummy pianist. I should know the song, but not quite placing it. Another more modern player, but this one is clicking. More out of, say, a George Coleman era (perhaps a shade later?). The time is smack on for this whole band. For my ears, this is about the fastest tempo I need (better than 99% of the time). It's in the pocket, but right at the opening. Swings, flows -- diggin' it. Sadly, not a friggin' clue who it might be. Weird guess on the drums: Idris Muhammad? Track 04 - Man, this is some jive! Of the samba variety, that is. Wait. That "ah, yeeaaah!" certainly sounds like a familiar voice. I don't recognize these people. I like the tenor -- not as much as the previous cut -- but I do like this. A bit busy, and perhaps not quite as spot on in terms of the time, but still a good ride. Don't care for the way that tenor is mic'd (splitting hairs, I know). Track 05 - I like where it's aiming, there's nothing "wrong" with it, but it just isn't resonating. I appreciate the second-line feel, and like the trumpet player's phrasing, but the whole only seems to add up to the sum of the parts. Track 06 - Tune seems familiar, but can't place it. This trumpeter is a survivor. The whole date has that feel. In fact, seems a bit older (early 80s?), but the players seem to be "of a certain age." It's real and it shows. The style strikes me as Ruby Braff (which is a regular guess of mine, but that's what I'm hearing). Track 07 - Okay, calling this Gene. Can't place the tenor. Seems like a hybrid between Harold Ashby and Buddy Tate, but not enough like either guy. Ballsy, but perhaps a second tier guy? Nice quote of Organ Grinder Swing there at the end. Oh, and obviously, Bye, Bye Blackbird. Track 08 - Easy Living. Another survivor (it's in the vibrato). An almost Marsh-like quality to the tenor. It's not Christlieb, this guy is older than that. This is just a classic ballad, perfectly executed. Very nice. Track 09 - Summertime, nicely done. Thinking a more modern band. A very tasteful rendition. Trombone, especially, staying within himself. I can name all the guys I'm sure it ain't, but otherwise, I got nothin'. Track 10 - And more of that warm weather. Sure has that Gene sound, but I'm going NOT Gene! I accept your challenge, sir! But, boy... I'm doubting the absolute f*** out of that. Yeah... I'm caving. Gene. What's not to love about this? Man, I thought sure that breathy tenor was Ben, but... damnit... I'm bouncing back and forth. It ain't, but man, he's got it. Harold Ashby on a great day? Man, I'll take a LOT more of this! Track 11 - Ah! I'm working backward because I lost a track. Apparently, I should know this tune. I'm saying NOT Gene on this one (reversing what I originally said about the next. Track 12 - Not Gene, and sticking to my damned guns, this time. I love it, though. Aaaaaand, changing my mind -- Gene. Track 13 - There we go! Bolivia, but not a version I'm familiar with. GREAT tune! CEDAR! Not Cedar, but a very nice recording. Funny, I have a few covers of this, and all are excellent. MAN! That guy wrote some GREAT tunes! Arrangement isn't really getting me in any place special, but it's not a negative, either. Could this be a later Curtis Fuller date? Not feeling the drummer (on the breaks, especially), but that bassist is killin' it. Track 14 - More second line. Sure sounds like Kenny Garrett to me. Yeah, sure of that one. I like him, but man, I really liked him when he first arrived -- very hungry. He's more polished now, but the hunger is not the same. Tenor player is too lick happy. Could even be Grover (if not, certainly has listened to a LOT of Grover), but just doesn't... swing. That out-chorus sounds like they're not in the same room to me; just doesn't mesh. Track 15 - Another later tenor. Very accomplished chops guy. Not someone I'm familiar with. Also out of that trilly, smooth school. That B section of of the head he manages to sound just like Pharoah at times (a good thing). I do not know this record. Not a thing wrong with it, just doesn't click for me. Live, it'd be a fun ride, though. Oddly, there is a band here in the NH area that plays this feel really well. Track 16 - I like the feel, a lot. Guitar solo is a chorus too long. No, it's TWO choruses too long. Maybe three [enough, already!]. Track 17 - Thought I had a virus window pop-up in the background from YouPorn. Hit stop and realized I was in the clear. My wife IS a little curious (glad I didn't listen to this at work!). Not sure what this is, but sure would like to hear the music minus the... other (or are they just sharing an ice cream sundae?). Gene? Jesus Christ! What the hell is track 17 and. who the hell IS the show off?!? Hell, *I* arrived four minutes ago!

No doubt in my mind you've have nailed The House On Maple Street. Awesome story! I feel like there is no much I need to learn about all the people who participate here. Gotta figure out this retirement plan so I can get TO that!

Per the other discussion, it's also worth noting that I had encouraged Webb City to give this test a listen. He had a rough month at work and had forgotten about it until I messaged him on a different issue. He sent me his comments, but I'll encourage him to post them to the thread.

'Bout an hour.

Just my $.02, but I'll miss BOTH your tests if you got that route. I also cordially invite you both to hang here in NH if you find yourself up here for a bevvy and some listening, regardless of what happens with respect to the BFT.

Wow... just noticed it bleeped comedian Richard Shawn's name. Really, guys? Really?

Alrighty! Here goes. I got an advanced listen but wanted to wait to post because I knew I did pretty well. December is a bear with work, so I went ahead and listened when Felser sent the test. Track 01 -- Discovered this one by accident while searching for music by William Parker. This features Don Smith's vocals (better known to me from Dick Griffin's Now Is The Time). Incidentally, he's also Lonnie's brother. It's the opener from this. Track 02 -- Huh! Speaking of Dick Griffin! Another opener. Discovered this one looking to round out my collection of another Billy (who appears on one track on the B-side). It's track 1 from this. Hubert Laws! I came to him via his brother Ronnie appearing on Solid Gold when I was just a pup. MUCH to love on this record (WHAT A TRUMPET SECTION!!!!). Track 03 -- I got the tenor as Rouse pretty quickly, but I had to mine the collection to find this one. WOW! ANOTHER opener! This time from this. Track 04 -- Tasty Rhodes! The House on Maple Street! Smilin' Billy, so I'm assuming Walton and Jordan. No! Wait! Duh! I've got this. I think it's the last thing I have by Hank Mobley. Track 3 from this. Track 05 -- Hmmm. You have me on this one, brother. Got that 70s sound so my first thought is Urbaniak. Maybe with some of the cats from era (Randy Brecker?). No, seems like these guys are headier than RB. Track 06 -- HAHAHA!!! How dare you, sir! Track 07 -- Aw yeah! Track 2 with NASTY Thad from this. And there's that Henry guy. Man, discovered this one only a few years back -- what a BITCH of a record. E is SUCH a bad man! Track 08 -- No shit, I was just listening to this track (another version) on the drive to work. This is not a familiar version, but Don Pullen is doing his thing. And George Adams? Oh! No! AAAAHHH! It's track 3 from this. Filthiness! Track 09 -- This song... I know this, but again, not this version. Quite likely, because that sure sounds like Gary Bartz. Definitely Gary, sounds like Freddie? No! That's Woody Shaw. This has to be from the Blackstone set. Never going to place the title. Track 10 -- Checking the mirror on my Mercury Cyclone for the po-lice. Rhodes, horns, mixing between 70s jazz-funk and swing. This is what Maynard WANTED his band to sound like in the 70s. So much to love in this. The voices work, the shifting feel. That NASTY, growling bari! It's like if Children of Forever didn't take itself so severely seriously (but in a good way! -- another album I love, by the way). I'll be interested in the reveal on this one. But, I swear, if it's Kamasi, I'm quitting. On the one hand, I'll be pissed if I have this. On the other hand, it'll save me money if I do. Track 11 -- I'm a bad person, but all I can see if Dick Shawn's LSD performing this, and it makes me happy as hell! Much happiness in this one!

July, please.

You give me way too much credit. I meant "I Wish I Knew".

Getting a jump on this one -- busy time of year, but the perfect excuse to get some grading done. Track 01 - Welp, obviously it's St. Thomas, but likely in one of its other incarnations (I mean, we KNOW Theodore didn't actually *write* it). No idea. Maybe Kenny Drew? I dig it, though. Track 02 - Love the loping feel of the drums. Nice comping on the head. Something has me leaning towards Kamuca. Actually reminds me of Don Sleet's record All Members quite a bit, but I haven't played that in ages. Doesn't sound like Jimmy Heath to me, though. Can't quite place the trumpeter, but love his clean, crips tone. Two-for-two on this test, though. Track 03 - Something doesn't sound right about the drums in the mix. Almost like it was recorded separately from the rest. My grandmother had a Chico Hamilton record like this. It sets the drums off too much from the rest of the recording, which I am otherwise enjoying a great deal. Track 04 - Oddly angular. Almost in an Ellington sort of a way, but that's not who it is. Nice KC feel to the head. Got some thoughts on the tenor, but I'm going to listen again. Don't know the 'bone. Nice, brassy trumpet. A little more subdued than Buck Clayton, but I'm thinking someone along those lines. On second listen, I'm going to go with my gut and say Allen Eager on tenor. Track 05 - No idea, but the longer it went on, the more I liked it. Nice. Track 06 - Reminds me of the Embryo album For Eva, featuring Mal Waldron, but that's definitely not Mal. I like this, though. I'm leaning European, which means I don't know who this is. Again, I'm liking it. Track 07 - This one is the first one that hasn't grabbed me. Very busy, and that guitar is a bit intrusive. It's interesting, and I'd probably be a lot more into it without the guitar. Track 08 - This has a familiar feel, but my ears are lying to me -- I don't know what this is. Track 09 - At first, I didn't think I'd like this, but once it got going, I was hooked. All in. No idea what this is. His voice almost sounds like Olu Dara's. Track 10 - Another I am not familiar with, but I like it. I like it a lot. Track 11 - A lot of these cuts sound almost like rock bands I probably know doing a "jazzy" cut. They work, though. I mean, not sure I'm going to take Kind of Blue off the turn-table to hear them, but they hold up well. Track 12 - This sounds more familiar. Alto has a J-Mac quality (not him, but I think I know this player). Drums remind me of Greg Bandy's work on an obscure Pharoah Sanders record on India Navigation. Or, more accurately, I'd guess that reminds me of this. Can't offer a reasonable guess, but I like it. Track 13 - I like the feel and the general musicianship, but I don't think I know these players. Track 14 - Stop me if you've heard this before: I like the feel of this, but don't know the players. This alto sounds very familiar, but I don't have the name. Not sure on the tenor. Sounds a bit like a LOT of guys. I hear some Willis Jackson influence, for sure -- but could it be the man himself? I don't think it is, so it probably is. Track 15 - This reminds me a bit of Jimmy Jones and a bit of some older Mal Waldron recordings I have. I don't think it's either, but I like it. Track 16 - Something very familiar about this. Not sure if I own this, but I have definitely heard it... recently. Comping behind the trumpet doesn't seem to be quite... syncing isn't the word... they just don't seem to be connecting. Trumpet work is nice, though. Ah! Wait a minute. That's Ralph Moore, I'm sure of it. He's a guy I always want to like more than I do, but here, he's clicking. This is beautiful. Piano is familiar but, not a slam dunk. Could be Geri Allen. Track 17 - More modern player whom I cannot name, but this is actually quite pleasant, if a bit more orchestrated than I usually lean towards. Very nice, though. Track 18 - Tune seems very familiar, but again, I think my ears are lying to me. Reminds me of a tune on a Rashied Ali record, and that CLEARLY is not what this is. Organ doesn't really seem to fit with the feel. I like the guitar, though. Track 19 - This is really nice. That tenor... I know that tenor. Tune almost sounds like I Wish I Knew, but I don't think that's right. Clear, strong tone, and tasteful embellishments by the piano -- just like it was meant to be. Could this be one of the Getz/Barron sessions that was recorded prior to People Time? Has that feel and is at the level of quality, but seems a bit less outwardly... showy isn't the word, but... that Getz thing, than I would expect if it is him. I have to say, this was one of the more enjoyable BFTs this year! So I wasn't crazy thinking there was an Adams/Pullen vibe. I wanted to make that comment, but thought I must be nuts.

Wowsers! Kamasi got me (sort of), again! And SHAME on me for not getting Lacy. I have the record, but play Moods more. Still, that's an inexcusable miss.

Forgot to follow the thread. Mistaking Roscoe for Joseph -- SHAME on me. That said, I usually find Joseph a bit more down home, so it's a complimentary assessment, as Roscoe doesn't always reach me.

Late to the dance, here. Sorry. This one hit some strange areas, but also some areas that REALLY struck a note with me (especially where it wound up!). Track 01 - Seems like a remake (sort of like the ones you see on YouTube of bands redoing music from the 20s and/or modern tunes in that style. Accomplished musicians, but not sure how frequently I would spin this. Track 02 - Now this is right in the happy zone. Decidedly Tyner-esque feel. Some touches of Charles Brackeen in the cry of that tenor, but the player seems more out of that Liebman set than CB. That bass sound is off-putting. I don't think it's the player, but the recording. If not McCoy, somebody that owes a HUGE debt. Possibly Franklin Kiermyer on drums? I want to guess Jon Faddis on trumpet because of the heavy Dizzy influence, but seems to have more taste than JF, and his sound isn't so... well... ugly (never sold on JF). Track 03 - Very little of this pocket of the genre reaches me (Peter Apfelbaum is a noted exception). It just doesn't seem to... swing. Love the growl of the bari against the more trebly sound of the guitar. Underwhelmed by the improvisational segments. This type of music should have a fun feel to it... to my ear, it's missing here. It seems more forced than fun. Track 04 - I like this one better than the last, but it suffers from a bit of the same issue, to my ear. This stuff is brutal to read and difficult to play. When the right band does it, though, it has the feel of fun that it's supposed to inspire. This track comes closer, but still seems to miss by a bit. Track 05 - This one is as cerebral/technical as either of the last two, but it works much better, IMO. Can't put my finger on why, but I'm not focused on the counting so much (though that's definitely in there), it just seems to have a more lyrical underpinning, in spite of all that technique. Mild, Woody-esque trumpet sound (flugel?); whatever, it works well against the tension build by the piano comping, without feeling frenetic. Even when it gets loco, it's still within itself. Reminds me of a Jimmy Owens album I have (and, of course, later Miles). Not completely sold on the use of effects, but it still works. For this style of tenor playing, I'm less bothered by the effects (in much the same way I appreciate Bob Berg's more commercial/smoothish recordings more than his straight-ahead endeavors). The feel works, but it goes on too long, and when the tenor gets into the repetitive articulation, my interest wanes. Track 06 - A little too late-70s Weather Report-ish for my liking. Definitely hear the Bitches Brew influence on this, but lacks the same fire. Track 07 - Aw yeah! That's the AEC, baby! I think this is from one of the Dreaming Of The Masters sets, but can't recall which one. Man, LOVE when these guys lock into that groove! A little sleuthing tells me I have the right song but the wrong date. It appears to be the last track from this. Joseph Jarman is a baaaaaaaaaaad man. Track 08 - This one is interesting. I first, I was thinking a Billy Bang date, has that feel. But, alas... no Billy. I'm not sure I'm entirely sold, but this one WILL get another listen or two, for sure. It's busy, but in an interesting way. Compositionally, it's kind of Braxtonian, which ordinarily would lead me to click fast forward, but this one interests me. Track 09 - I want to like this more than I do. There's a lot here I SHOULD like, but it seems to be taking forever to unfold. Has the feel of Old and New Dreams larger projects (like the one with Dewey Redman, Ballad of the Fallen), but never seems to quite develop to that point. Not sure who this is, but I don't think it's that band. Track 10 - Does Tad Dameron ever NOT work? I don't have any guesses, but I completely love everything about this. Track 11 - No clue, but it's a BFT... so... I'm guessing it's Gene Harris. Maybe Ben Riley on drums? Track 12 - Liking this loads. A lot of thoughts as to who it might be, but keep talking myself out of all of them (David Harris, Frank Lacy). This one works. Has the feel of a Peter Warren date. Track 13 - Well, there's Mr. Shepp, and unmistakable as only he can be. This is older, because he's got a certain bite that is missing in his more recent recordings. I'll guess this is around 1976. I had a date from the late 80s (may still have it) with Richard Davis, but this has it ALL over that date. Man! I love Shepp! Thanks for the sounds!

Shame on me! I should have had that.

Here's my take on this one. I did get a bit of an advance listen, but responses are from the first listen. Track 01 - This reminds me a lot of one of the cuts from my BFT. Soprano player strikes me as maybe more of a regional player, but I think that adds to the draw of this cut, because it's not "perfect". This is not in my usual ballpark, but hear a lot to like here. Track 02 - Yeah, I'm all in on this one. This is the sort of thing made me go out and buy a bass clari. Or course, that was forgetting that I suck. This has all kinds of things I love. That bass hook, the groove -- it's all there. (Incidentally, seeing Mathieu Belanger in Montreal was another of the motivating factors!) Track 03 - Sounds like Kenny Wheeler to me. Maybe with a Pat Methenyish guy. I like the trumpet more than the guitar on this. Track 04 - First reaction is Giuffre on bari. Again, a lot to like here. You're en fuego! Straight ahead, good ol' fashioned no bullshit swinging 4/4 Jazz. Not a thing wrong with that. Track 05 - I was thinking Lazy Afternoon, at first. No idea who, but again, this is VERY nice. Piano is absolutely haunting. Track 06 - Really loving both the bone and the instrumentation. This is one of my favorite BFTs of this year. Track 07 - More strange instrumentation, but more love. This damned test is going to cost me money!!! Track 08 - Sounds like Sean Bergin and Curtis Clark to me, but I don't recognize it, so I am most likely wrong. Track 09 - Odd. Got an Elanor Rigby vibe on the head. Loses a touch of its cool once the solos start -- gets more of a CTI feel, but overall, I still like this a lot. Track 10 - Has an ECM feel to it, similar to the DeJohnette bands, but it's its own thing. Abstract, but musical. Another one I like a lot. Track 11 - Ordinarily, this would be a stretch for me, as the head seems a bit math-jazzy. But this combination works here. Clearly a modern player (Bob Berg influence?). I don't love the improvisational statement, but there's no denying the overall groove. Another keeper. Your killin' it, but I'm able to ID NADA! Track 12 - This has a Sam Rivers feel to it, but perhaps a bit more European (think Gunther Hampel). Again, abstract, but musical. This has a bit less of the groove that the others had, but it still works. Track 13 - That modern guitar sound that I find so troubling. I suppose it's the influence of Pat Metheny (with whom I rarely click). This seems more like Ben Monder or someone of that ilk. The heavily effected guitar always sort of bugs me... frankly, kind of puts me to sleep. I like the loping feel of the drums (I'm a sucker for 3), but otherwise, this strikes me more as a background cut. Also, MG, try refreshing your browser -- I'm able to see it from my tablet.

Got around to this while staying at the beach during a rainy stretch. Track 01 — The gospel feel doesn’t bother me, but the vibrato is a bit over the top. Could be Byard Lancaster, though the genre seems all wrong for that guess. Song reminds me of something else and I keep expecting it to go there. Listening on a tablet —am I hearing a tuba in there? Track 02 — Slam Stewart, for sure. I know there is an album with this tune w/Papa Jo and Wild Bill Davis — this is not that. Track 03 — Needle drop. No guess on the guitar. Sounds like Ain’t Nobody’s Business in 3. Tenor is a Jazz guy (as opposed to a blues guy) but not someone I am familiar with. It works, but I’m convinceI don’t know any of these people. Track 04 — Strikes me as a pianist playing the organ, but can’t say who. Don’t recognize the drummer. Track 05 — Somebody Makin’ Whoopie. Playing like Ray would sing it. Since it’s a blindfold test, I’ll guess Gene Harris. 😁 Track 06 — I do not know these people. Enjoying, but as background. Track 07 — willow weeping for someone I do not know. A very tappy player. Seems influenced by Django. Track 08 — I am a sucker for this feel. No idea who it is, but I’ll take seconds, please. Oddly, bari solo didn’t really click for me. Track 09 — sounds like the Crusaders. Nope. I was thinking Way Back Home. Could be them backing a vocalist. Sounds like Joe for sure. I can’t recall Wilton on soprano, but I’d bet it sounds about like this. Man, this REALLY sounds like that song. One owes the other royalties. Track 10 — Likable, but I keep wanting to hear an Ellington blend in the sax section. Enjoyable, no guess. Track 11 — Intrigue on the intro, wasn’t prepared for Gershwin. Don’t know the vocalist. Has that feel that maybe she’s someone famous trying her hand at singing (reasonably successfully). No guess. Track 12 — sounds like a variant of Lester Leaps In. Perhaps a later contemporary, but not quite on the same plane. I like this guy’s beastly tone Track 13 — weird guess here: O. C. Smith? No idea on the band. Track 14 — Wow, I really whiffed on this test. I was thinking Mr. Jordan at first, but that does not seem correct. As always a challenging test. I really hate it when I get no-hit! After reading the thread: Welp, my ears didn't betray me on #9, but did on #2. Correct me if I'm wrong, here, isn't Major usually signing an octave ABOVE his bow?

You are most welcome and I'm sure all the musicians thank you for your purchases!

Welcome!

Happy to spend your money.

01 - El-P, Please Stay (Yesterday) from High Water (2004) From Thirsty Ear’s The Blue Series Continuum. This was an interesting project from Thirsty Ear that you can read more about here. I first heard some of this on Prime Cuts on MPBN back when Ken Eisen was hosting the show. Roy Campbell - trumpet, Steve Swell - trombone, Matthew Shipp - piano, Daniel Carter - woodwinds, William Parker - bass, Guillermo E. Brown - drums, El-P - producer 02 - Henry Butler, Fivin’ Around from Fivin’ Around (1986) This was a discovery back in my college radio days. Knew nothing about Butler, but fell in love with this track. Jeff Clayton - oboe, Henry Butler - piano, Charlie Haden - bass, Billy Higgins - drums 03 - Martina Almgren Quartet, Rumsia Samla from Unden (2009) I discovered this completely by accident back when I was subscribing to eMusic. It popped up and I listened to clips, liked it, took a chance. Nothing ground-breaking, but really enjoy most of this record. Björn Almgren - tenor saxophone, Tommy Kotter - piano, Owe Almgren - electric bass, Martina Almgren - drums 04 - Bridgewater Bros, Dear Trane from Lightning And Thunder (1978) I found my way to Cecil through Max Roach’s band, and then to this record via an article about the Thad Jones/Mel Lewis band. Cecil Bridgewater - trumpet/flugelhorn, Ron Bridgewater - tenor saxophone, Stanley Cowell - piano, Reggie Workman - bass, Michael Carvin - drums 05 - Robert Stewart, Get Out! from In The Gutta (1996) Robert Stewart is another guy I discovered through Ken Eisen. Robert used to have all of his stuff on his website. I sent him a message letting him know it was all downloadable. He said he knew. I told him I’d prefer to see him make a living and offered to pay for the downloads. He told me he wanted people to have his music. So I have it. (And yes, I have bought the albums, since). Robert Stewart - vocals & tenor saxophone, Ed Kelly - organ, Reginald Veal - bass, Jeff “Tain” Watts - drums 06 - Bobby Battle, To Wisdom, The Prize from The Offering (1993) This record showed up in my iPod rotation and never fails to send me to the screen to see what I’m listening to. Mapleshade really managed to capture that Prestige drum sound, and it frequently messes with me when trying to ID a track. Larry Willis - piano, Santi Debriano - bass, Bobby Battle - drums 07 - Sonny Fortune, Billy Harper, Stanley Cowell, Reggie Workman, Billy Hart, Awakening from Great Friends (1986) Billy Harper is a hero to me, but I like his own stuff usually much better than his stuff as a sideman. This one is is the middle ground. Sonny always leaves me a bit off, but again, he works in this setting. Sonny Fortune - alto saxophone, Billy Harper - tenor saxophone, Stanley Cowell - piano, Reggie Workman - bass, Billy Hart - drums 08 - George Adams, City of Peace from Paradise Space Shuttle (1979) My father picked this record out for me at Loony Tunes in Boston when I was… hell… 13? At first, I didn’t care for it, but George quickly became a personal favorite. This was the inspiration for my first attempt at improvising on the saxophone. Thanks to Richard Gardzina for his patience and support in that endeavor. George Adams - tenor saxophone, Rahn Burton - piano, Don Pate - bass, Al Foster - drums, Azzedin Weston - percussion 09 - Lloyd McNeil, Salvation Army from Treasures (1976) I became familiar with Lloyd through the BFTs. Man, am I glad I did! Covering this tune is a goal of the current quartet/quintet project I’m involved in. Lloyd McNeill - flute, Dom Salvador - piano, Cecil McBee - bass, Brian Blake and Portinho - drums, Ray Armando - percussion 10 - John Gordon, Making Memories from Step By Step (1976) I’m a sucker for most all things Strata-East, and this is no exception. John Gordon - trombone, Charles Tolliver - trumpet, Roland Alexander - woodwinds, Stanley Cowell - piano, Lisle Atkinson - bass, Andrew Cyrille - drums Probably a good time to mention that none of the reoccurring personnel on this BFT were intentional, excepting the two tracks from El-P. 11 - Charles Brackeen Quartet, Cing Kong from Worshippers Come Nigh (1988) available here: https://silkheart.bandcamp.com/ Brackeen is an under appreciated genius in my estimation. Here is the link to Silkheart's bandcamp page. Charles Brackeen - tenor saxophone, Olu Dara - cornet, Fred Hopkins - bass, Andrew Cyrille - drums 12 - Frank Lacy, Settegast Strut. 12:50 This is another tune I want to cover with the current project. I *love* Frank Lacy. I first heard this covered by Bluiett’s Baritone Saxophone Group, and they completely missed the feel of the song. This song has the strut, and Lacy feels the spirit. This interview may also be of interest. Frank Lacy - trombone, Katy Roberts - piano, Radu Olawu Ben Juda (Richard “Radu” Williams) - bass, Doug Hammond - drums 13 - El-P, Please Leave (Yesterday) from High Water (2004) Roy Campbell - trumpet, Steve Swell - trombone, Matthew Shipp - piano, Daniel Carter - woodwinds, William Parker - bass, Guillermo E. Brown - drums, El-P - producer