tkeith

Jim to the rescue, shortly, I imagine. (I want my ears to be his when I grow up!)

Man, not a lot I knew here. Some just didn't click, some absolutely nailed it. Gotta say, this one took awhile (four separate sittings). Track 01 - At times, almost flirts with Mal Waldron's phrasing, but too busy. Obviously Round Midnight, but not sure the player. Sure makes me wish I could play piano, though. Track 02 - Reminds me a bit of Don Pullen's album, Tomorrow's Promises. Because of that, I can't get the notion of Randy Brecker out of my mind. Has that South African feel, but more like a stateside band playing in that style. Not sure if it clicks. Not feeling the tenor player. Best thing I can say is, it's not Michael Brecker. Seems to have that approach that a lot of the 80s musical secretaries had -- too many influences outside of the realm in which they are playing. Track 03 - Didn't dig the drums in the beginning in the least. When the band kicks in, though, there's a lot of affinity for this. Alto is doing to me what the tenor player on the last track did. I like both more than most guys who play in this style, but it's not my bag. That alto's tone is pinging for me, but I can't say why. All over the bone, though. Everything seems to click as soon as he comes in. Not any of "my" guys, but I'm totally digging what he's bringing to the table. Some shades of Frank Foster in that tenor, but again, more out of that play-it-all generation. Digging the tenor, though. Rippin'! Track 04 - Sugar, obviously. Drummer's time leads me to think European. Tenor is tasteful, but I'm not getting much of a feel for who he is. Good player, but not something I'm compelled to own. No guess on the brassy trumpet. Arrangement is kind of clunky, like a late night TV show band might do. Again, diggin' the bone. Has almost a Knepper-esque quiver. Track 05 - Saw Billy Bang do a tune with this sort of drum riff, and as it was developing (Mike Carvin) Billy rasped, "Got that James Brown shit goin' on." I forget the title... is it Billy Joe, or the Tallehatchie (sp?) Bridge? Doesn't offend, but can't say I'm diggin' it, either. Rhythm on the tenor seems just a shade off. I want to like it, but it keeps poking me with these little rhythmic "offs". Something familiar in the tone, but not enough to hazard a guess. Track 06 - Block chords, Red. It's track 2, side 2, from this, but I'm guessing this is from the 32Jazz reissue based on the sound of the cymbals. Track 07 - Everything Happens To Me. Something is making me think Konitz, but it's not him. Very clean sound, but with a bit of a rasp, too. Sort of like an edgy Frank Morgan. There's a sparseness in the chord voicings that has me thinking Horace Parlan. This one is an absolute winner. Track 08 - And this one elicits the opposite response. NOTHING about that alto working for me. Overblowing and scoopsville. I'll pass. Gave up at 2:40. Track 09 - No idea on this one. Very pleasant. Track 10 - That's gotta be Randy Weston. Or not. Track 11 - A howler. I appreciate it, but have no guesses. This is a long-ass BFT! Track 12 - Fun, but not my thing. Reminds me of a Tom Waits lyric: "The band is awful and so are the tunes." It's not THAT level, but it's just not what I gravitate towards. This is very familiar to me, but I wouldn't seek it out. Is it possible this was part of a recent BFT? Track 13 - Methinks I smell a Pablo date. Leaning Arnett Cobb. Track 14 - I guessed Randy Weston, already, but that sure seems to be hinting at High Fly. And so it is. Not sure if I'm buying this or not. The laidback approach seems very forced. The rhythm is a little off (think Ricky Ford), and I'm not sure if I buy his technique. I want to like it, but I'm not there. Like the piano a lot. I don't think the player is as old as he sounds, and I think that's where it's missing for me. Track 15 - No guesses, not a lot of impressions. Track 16 - Misty with a heavily effected (for my taste) guitar. Somebody that has listened to a fair amount of Jim Hall, but isn't quite there to my ear. Perhaps Barney Kessel? Track 17 - Just a standard shuffle blues. No guesses, but nothing really striking me one way or the other. Track 18 - I know this. I swear I had this on vinyl growing up. It was my favorite Bird tune growing up. I can't peg this and I know I don't still have it. But I DEFINITELY owned this. I remember that intro chorus vividly. Trying to reason out the player. Has that live recording of the period sound. Touches of Eddie Harris, a bit of Newk, not quite to either guy's level (though it could certainly be Eddie). Either way, this is REAL. This guy is working, whether it works or not, he's after it. I would be so excited to see somebody do something like this live. Closest I've come in recent vintage was a night of Bill McHenry at a nothing club in NH with a local guy on bass and a drummer who was supposed to be somebody. Bill was killin' it all night. Nothing fancy, just like this (different style, but I mean, FEEL). We were diggin' it and he was feeding off of us. That's what's supposed to happen. This HAS that. This one is absolutely killin' for me. D'oh! Right up until the change in tune... rarely care for that.

1. That's just the way the files were sent to me. If sent a disc, they are always MP3 because that's the conversation I use. 2. In an effort to be certain that no data remains in the files that will help people ID them, I always try to choose a photo relative to the BFT number that will appear as the album artwork. In this case, Frank Taveras, due to a trade from the Pirates to the Mets, played 164 games in 1979. Similarly, BFT165 features a photo of Maury Wills, who played in 165 games in 1962.

Not falling behind on this one, my friend! Some morsels in here! Track 01 - This might be one step beyond what I can really muckle on to. Usually, anything that conjures visions of a 1973 El Dorado tends to make me pretty happy, but this seems to lean one extra step away from "Jazz" and towards Chicago. Tenor solo brings it back a bit, but again, just outside my sphere. This actually reminds me a lot of Bill Cosby's Badfoot Brown and the Bunions Bradford Marching Band. I'm guessing I don't know the players by name here, but I'll hazard a shot at Rudolph Johnson on tenor. It cooks, I'll give it that. Almost feels a little polished for what it's aiming for. The Dick Griffin, Phil Ranelin stuff of the era had enough slop in it to keep me smiling. This seems like it might be a bit more towards commercial (thus cleaner) than that stuff. I'm on the fence about it, probably in part because I can't put a decent guess on what it is. A little nod to the Beatles in the fade? Track 02 - Ah... there's a nice bass hook, with some simple backbeat... now we're talking. Well, not sure what it's being called here, but that's Hugh Lawson's Joobubie (which has had various titles on different records). Not sure who the tenor is. Has a touch of George Adams in his cleanness, but it's not Big George. Just a bitch of a tune. Very interested to know what this one is. Track 03 - First thought was a Blakey cut, but that's obviously not the case. Shades of Kenton, though seems more out of that vein than his own stuff. Tenor is like Harold Vick and Bill Saxton had a child... and maybe Stubblefield raised it. In fact, that may well be Stubb. Seems like a variation on Coltrane changes. Kind of a busy arrangement, but not overbearing. If it's not Kenton, it could be Manuel De Sica. I don't know this, but I think I want to hear some more. Track 04 - Harold Land, for sure. What a SOUND! And there's Bobby. Off to a stellar start. Sounds like the progression of Dark Mood. It's not the version I'm familiar with (definitely not Billy Higgins). That means it's the version from this. I have this, but I'm less familiar with it than other stuff from Hutcherson/Land. Track 05 - "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..." Damned tenor. I know h im. I mean, I KNOW him. But... damn it! He's playing just beyond a tempo he can handle. He's got that same, almost gasping quality to some of the lower register that Harold Land has. Almost like Charles Lloyd, but seems too bold. At the onset, I was leaning Scofield. Now I'm torn between Sco and Pat Martino. Track 06 - Good old Jazz waltz -- nothing quite like it. I cheated on this one and Googled it. I thought I heard Junior Mance in there. Track 07 - Speaking of Ranelin, that sure sounds like him to me. Perhaps it might be somebody a little more towards "the tradition," but the energy is certainly compatible. A very Tyner-esque piano, some FIERY drumming which certainly owes at least a nod to Elvin, though it could be the man himself. This kicks a bit of ass. No idea who the lunatic on piano is, but I think I love him. Not Elvin. Energetic MF, though! Man, I need this. This is killin'! Track 08 - Aw yeah! Last track on the A-side of this. Such a bitchin' tune! Sonny recorded this later with Pharoah and Elvin on Ask The Ages as Many Mansions. His tune, I guess he can do with it what he wants. Elvin DESTROYS this and it is EPIC! Track 09 - I was thinking, this one HAS to be McCoy. However, that's a Woody Shaw tune. Damned if I can tell you the name. Wait! No! I'm a huge, fat liar! That's Hannibal! No! Okay, this is funny. I had to sleuth this out in the collection, knowing full well I had it. About 2-1/2 minutes in, I made a note to myself (as I do throughout the year for tunes for my next BFT): "Jothan Callins" figuring I'd pick the tune later. When I found the bass hook, I spent 3 minutes laughing at myself before coming back to the computer to type. Fair enough. Tim Webb turned me onto this record. I know nothing of the artist other than this absolutely bitchin' recording. It's the title track from this. Track 10 - Has the feel of a Mingus tune. No idea who, but I like this. Track 11 - No clue. Shades of Cream. Interesting. I like it, but not sure if I would go to this well unless in a specific mood. [Additional listens prompted me to sleuth this, but I'm not going to ID it; very interesting story, and indicative of one of the many gaps in my listening, even after nearly five decades.] Great stuff, as usual!

Jeez, I started this but never got back to it. Finally getting around to it. I need to retire. Track 01 - Fun. No guesses, but very fun. Track 02 - Reminds me of an old... Black Lion? record I had of Illinois Jacquet's organ band. Sounds like Harold Alexander's flute work. Track 03 - Influences of Ibrahim, certainly in the spiritual vein. Pianist has a touch of Phineas, but not enough. Like Phineas played on a slower speed (love it, but there is only one Phineas!). I was going to guess Vince Guaraldi, but seems busier. Track 04 - Sounds like an Ibrahim song, but that's unmistakably Phineas. Ah! Yes, THAT record. It's Harlem Blues from this. That drummer probably came from a very musical family. Track 05 - Starting to catch onto a theme, here. I like these, but I have no idea who it might be. Gut is telling me it's more of a blues record than a Jazz record. Something about the bass has me thinking Milt Hinton. Track 06 - I like the singer's voice, but the stiffness of the rhythm (clearly intentional) is grating. Track 07 - Obvious guess is Horace Silver, but I have absolutely SIFTED my HS collection and this is not there. Could be he's a sideman (maybe for the bassist?) but I'm whiffing on this one. Track 08 - Aaaaw, yeah! My first thought was Lee Morgan, but that's an older sound (balls out playing!). Ah! There's Oliver Nelson. Sometimes, he didn't seem all that funky, this is not one of those times.:) George Tucker, for sure -- nobody lays down that walk like that. AH! Got it! It's Track 2 from this. I should have gotten the drummer, too. Trumpet player is a favorite, and completely under appreciated. Track 09 - Very interesting, but no idea what it is. I recently watched The Godfather again, and a couple of tracks here brought me to the wedding scene, but on a more musical level. I know this alto player, but it's not clicking for me. Could be Fathead, but doesn't seem strong enough (meaning the tone, not the music). I like this, but I feel very guilty about it. Track 10 - Huh... I assumed this was the outchorus of the previous song and it threw me off. I assume this is a soundtrack. Track 11 - This! All day long!!!! I haven't lobbed a Gene Harris guess out there, yet, so here it is. I could get lost in this for a long time. MUST have. Track 12 - AAAAAW YEAH!!! I swear this just showed up somewhere else recently, but I'm not placing what it was. I was thinking Joe Lee Wilson, but then the vocals didn't come in. Open chords have me thinking Harold Mabern, and whenever I do that, I'm dead wrong, so there's that. I am enough of a cheeseball that this knocks me out. I mean, it's *so* Kojak, but it just works. I *swear* I know this, but I can't get it. My wife is laughing at me. Track 13 - I should NOT like this as much as I do. It's got that high school Jazz band from the 1970s feel, but it TOTALLY freakin' works! LOVE it! I want more of this. My ears aren't bleeding, so it's not Maynard, but that's the era I'm thinking of. Because of the mellow quality of the horns, I want to lean Mike Westbrook, but it seems too straight ahead (meaning no electronica). I'm diggin' it! Track 14 - To paraphrase one of my favorite lines from Hi Fidelity, "Is that James F***ing Taylor?" Alto is biting the phrasing a bit hard. Could be George Braith -- he has a tendency to do that. Yeah, this one is kind of suffering from the things that should have bugged me more about the previous string. Alto is too scoopy. If it's a heavy hitter, it's an off day. Lots of goodies in this. Can't wait for the reveal so I can spend some more money that doesn't exist! Internet Exploder!?!?! Well, there's your issue right there. I can't even test for IE any longer -- Mac gave up on them at version 5.xxx FWIW, I typically test it in Firefox and/or Chrome Wow... shocked that was Moody. That one missed for me. Still waiting to see some of those 70s tunes get ID'd. Perhaps I've had too much pecan pie.

Sorry, folks. It's up and-a-running, now. Files were all there but there was an issue with the way they were named. Cursed technology!

Shame on me! New record--missed three albums IN MY COLLECTION!!! And, additionally, the ultimate sin, *I* missed John Hicks! THAT'S MY GUY!!!

Done, sir... done.

Sorry, thought I had posted, but I don't see it. Track 01 - A west coasty sound to me. Not a strong point for me. I like this. It's not earth shattering, but quite pleasant. No guesses. Track 02 - My first thought was Roy Eldredge, but it's pretty clear it wasn't him. The tune is Avalon. Oh! There's Jaws. Okay, so this must be Sweets with his ass on fire. Very cool. Track 03 - Fiery alto. It's Phil Woods for sure. Later than the period I prefer, but that SOB sure could play! Growly tenor. Couldn't place him at first, then it hit me -- Lew Tabackin. Lew is weird. I'll love him for two tracks, but then remember why he's on my second-tier list. However, when he shows up after not hearing him for awhile, he always leaves me with a positive reaction. A former teacher put it this way: "He married well." Sounds corker, here, though! Drummer is too busy to swing, particularly on the breaks. Somehow I missed that it was Limehouse Blues until the out-chorus. Track 04 - Oh! That's a Randy Weston tune. Tanjah. Not sure which version, but one I am less familiar with. Seems like either one of his older (pre-1990) bands, or something very recent. Sound leads me to believe the former... welp, there goes that theory, because there is Billy Harper. Going back to the collection, my instincts weren't far off, but for some reason, I thought this album was newer than it is. It's from this. Track 05 - Jimmy Jones! Ellington Jazz Party, Hello Little Girl feating Dizzy on trumpet, Little Jimmy Rushing on vocal and Jimmy Jones on piano. Woodyard... man! This was one of my favorite albums growing up, particularly this track. BITCHIN'! Though, with the headphones and modern mastering, I have to say the post-production work on this is more maddening than ever. The splicing (and applause on my vinyl copy) were (are) horrendous. Friggin' Columbia. Track 06 - Sounds like Betty Carter, but I'm not sure what it is. The opening rhythm section had me thinking it was one of the George Coleman dates with Harold Mabern, so I'll stick with that guess on piano, but no idea who the others are. Track 07 - Sure sounds like the Ellington band to me, but from earlier than I'm really solid on (that should bother me more than it does). Yeah, definitely Carney and Hodges, so it's Duke. Even the stuff that predates the bulk of my listening maintains one solid truth -- Ellington ALWAYS commands your attention. Perfectly content to listen to this multiple times over, right now, though I can't be more specific about who/what it is. Track 08 - Oooo... tasty. Song is familiar, but I'm not going to get it. I love the feel of this. Subdued, clean, but very interesting. Ah! Now, who's the alto? Could be Phil Woods, again, but seems warmer to my ear. Pleasant, thoughtful, and... well, warm. No guess on the guitarist, but very tasteful. Good pick -- looking forward to the reveal. That breath controlled vibrato suggests old school... perhaps one of the teacher-types? Track 09 - Very Early for this sort of song. I swear I have heard this before, which means I'm a tool, because I should be able to ID it, and cannot. Track 10 - Loving the droning (more than the keys, but it works). Not sure I'd go to this a lot, but definitely the sort of thing I'd love to have swimming around my collection. In fact, it has a distinct under-water feel to it. Again, looking forward to the reveal. If the trumpets were more in-your-face, I would guess Kenton, because it's weird (in a very good way). Reverb is a lot, but again, it works. The trumpet soli kind of lost me... reminds me of some of the Bill Dixon stuff in my collection. Track 11 - Sounds like Cherry to me, but oddly, I'm not familiar with this. There was a time in my life where my Friday nights were occupied with listening to music like this... on a schedule. I kind of miss that. I'm going to have to finish the rest of the test in another listening session, but I have to admit, I'm intrigued after this cut. Track 12 - Don't know what it is, but I want a whole lot more of it!!! Track 13 - Has the quirky, anti-swing rhythm of Braxton. I like the drums/bass, but the horns are leaving me with that Braxtonian emptiness. Solo section, that feeling continues until the trumpet, which is obviously Kenny Wheeler. Just not feeling the alto nor the melody. Track 14 - Clueless about this, and a little cold by it, until about the five minute mark. NOW we're getting somewhere. Maybe a Manglesdorff project? A very enjoyable slice of mayhem is what this becomes.

Sorry to be so late to the party -- this is my super busy season. Track 01 - Loving the ideas. Even though there’s a lot of distinctly traditional patterns in there, the soloist is really working them in melodically. Rhythm section, again, is very traditional. I’m guessing early-to-mid-50s because the bassist is pretty much staying with a straight swing time, even on the breaks. I want to say Allen Eager, but the sound seems more open and the ideas maybe a shade more contemporary. I like this a LOT. Second listening — how’d I miss that. 0:55-1:03, that’s trademark. It’s Wardell Gray. A bit of a search shows me the tune is called Southside. I can’t believe I almost blew on Wardell! First guy that reached me from the “old” guys (hey man, I was 12!). Track 02 - Not my genre, but I really appreciate that ascending pattern on the melody — way ahead of its time. Not enamored of the scatting, nor the strings, but the melody is really appealing to me. Track 03 - Bit of a flashy blews on them there keys. Not sure on the guitar. Here we go. Bad ass tenor. Filthy. OH! That’s Fathead. Egad! I know this. It’s Deed I Do from this. David was baaaaaad. Super nice guy. Had the opportunity to meet a few years before the end and he was terrific. Playing and persona. Track 04 - Huh! THERE is Allen Eager. Gruff and BIG. Nice! This is a neat one. That’ll be Charlie, from Kansas City, on alto. In fact, isn’t this version called “Original Horns”? Track 05 - No clue. I was going to say Doug Raney, but it’s a bit more… how to put it? I kind of put him in the ‘tribute jazz’ category, and this seems more like the real thing. Track 06 - Seemed like one of those Alan Lomax things, at first, then it got rather odd. You can probably see the lack of clues through the screen. Interested in knowing what this is, because I like the blending of the voices. Track 07 - No idea. Predates my typical listening, though the sound leads me to believe it could be a later recording. Track 08 - Off the bat, the ideas are Tristano, but the sound seems far too new. Yeah, definitely too new. Has a Mingus influence, as well, but doesn’t quite have that biting swing of Mingus. Powerful band, though. I like this a lot. Ah, now that we’re going, seems very modern. Trumpet player is aggressive, but definitely schooled. I could more easily name everybody it is not. No idea… muted bone or French horn? Sounds an awful lot like Mr. Garrett on alto. An AWFUL lot. Who is THAT fat bastard? Only bass sax players I’d feel comfortable guessing are from Chicago or that James Carter guy (THAT guy, heh!). It’s none of those people, but this guy is playing it like a big, fat tenor. Good on him (or her). Man, I got nothin’. Track 09 - I like the tune, but, again, I got nothin. I want to say Ed Cherry, but I know that it isn’t him. Track 10 - Interesting, but not really clicking… until about 6:30, then it gets all weird and Milesy. Maybe Masabumi Kikuchi? Actually, now that I type that, those synth sounds sound a lot like Gil, but I’m not familiar with this. Track 11 - Not a clue. First thought was Van Halen’s Jump from the keys, but I knew I was out to lunch. Has that 80s vibe, though. Then into Monk? Like a Geico commercial, that’s unexpected. No idea who. Track 12 - Unsure. There’s another guitar in there, though (or it’s overdubbed). This is beautiful. I need this. Track 13 - No clue. I want to like it more than I do (typically like the islandy stuff). Something about the drums though sounds more like Jimmy Buffett island music. (That’s just mean.) Found a lot of happy stuff in here.

Huh! MGJ lives (or at least did recently) in my neck of the woods these days.

If You Let Me Stay! That was it!

I was thinking Joe Lee, but I didn't think he had enough edge on the voice. I found another version of the tune on a Charles Greenlee record (with Joe Lee), but even then I wasn't hearing it as him. #foolmetwice Nope, not Wishing Well. Was a bit before that. I never cared for Wishing Well. The tune I have in mind was closer to this, but with that hard edge (that was missing from Wishing Well). I had high hopes, then Wishing Well happened and I kind of forgot about him.

Sorry 'bout that. It was a neat way to grow up. I saw something like this happen when I saw Ernest Dawkins' New Horizons Ensemble at the ICA in Boston. I forget who the trumpet player was, but he was responding to the audience. He was building and playing directly to these highly responsive young (college age) kids in the second row. The kid had a smile that kept growing and he was rocking and the tension in the trumpet solo just kept building until finally the kid just screamed out, "AAAAAAAAAAAAAAHHHH!!!!" which was answered by a furious outburst from the trumpet back in his face. It was amazing. 'ppreciate it. I'm fortunate to play with the people that I play with. Thank Charlie Kohlhase -- I never would have found my way to this without his direction. Agreed.

Track 1 - Definitely Edward Kennedy's voice. Moon Maiden, I know it from this. Track 2 - Reminds me of the first stuff I heard from Michael Hedges, but I'd say this seems more focused (and would hold up better, longer). Ry Cooder seems to be the guy that does this stuff about as well as anybody, but this is not him. I know purist cringe at all that string noise, but that just makes it real to me. As it gets more frenetic as it approaches the three minute mark, I'm going to guess Larry Coryell. Track 3 - First impressions: Not in love with the unemployment stick, but I'm very much digging the drummer. Has a nice, Michael Carvin kind of snap to his kit. This kind of loses me the longer it goes on. I want to like it more than I do. Something very familiar about the guitarist. Track 4 - South African feel -- I'm in. I fell into a bunch of this stuff in my collection, and this is not any of it. I love it. Get some strange looks cruising around NH in a Jeep blaring this, though. Track 5 - As the groove develops, I'm half expecting Richie Havens to start singing. I know that melody. A lot to like here. Forgettable bass solo (reminding me of a gig from hell with a sub). Closer to three minutes, it gets more interesting. Loving that drum groove. Alto seems a little clean for what's being set up, but I'm still digging it. I guess what I mean is, I'm not sure this is from the period it sounds like or in tribute to it. Surely sounds like Tyner's piano. I was discussing this with my father recently. McCoy's strength in the Coltrane band was his patience. He would just work a motif and work it... and work it. Later, he got too notesy, almost like he thought he *had* to. Right at six minutes, they build that groove right back in, and that's where this should be rooted. It's a killin' groove - just let it develop for what it is. I'm probably nuts, but I swear I know this melody. Track 6 - Carolina Moon. I knew it was Monk off the bat, but the and was so loose when they come in I wondered if it was actually Ra. I'd talked myself into that until I heard the unmistakeable tone of Lucky! It's from this. Track 7 - No idea. While I find stuff like this interesting at first, it rarely holds my interest. I will say, though, I went down to clean my car (I have mid-life crisis issues) and brought this BFT with me, and while much of the pop-ish stuff would not be my first choice, it was the perfect companion for the job! Track 8 - My first thought was Michael Urbaniak. Then as it went on, I wondered if it could be later John Handy. I finally arrived at the conclusion that I have no idea what it is. Track 9 - Wondered if I'd accidentally shuffled the play list beyond the BFT when this came on. I've heard this (I swear), but have no idea what it is. I'm luke warm on it. If I were on the beach, or in a beach bar, and heard it, I'd be pumped. For sitting and listening, not so much. Track 10 - Definitely owes a nod to Bill Evans, but no idea what it is. Track 11 - No clue. It's rather... abstract? Random? There's something that doesn't really "flow" to me. Given that, maybe Evan Parker? Track 12 - I believe that would be Charlie, from Kansas City. Later, by the sounds. Rather melancholy. Soulful to the point of sadness. My first impulse was to say Moody, but it's definitely the man himself. Had to surf the collection for the song title. Meandering. Track 13 - I remember this song, but can't tell you who or what it is. But I remember it from my youth. I would not have put these two back-to-back. Track 14 - That voice is mighty familiar, but I can't place it. He's in that Andy Bey range. I keep wanting some soulful, Temptations style falsetto to come in there. I like this, though -- I could get a lot accomplished while this is playing. What happened to this sort of musical statement? Listen to the shit that we have now-a-days and you understand, perhaps, how we've arrived where we are. #sad Track 15 - No way. Terence Trent D'Arby! I always thought he owed a lot to a lot of people, but I have to admit, he's completely recognizable to me now. He had a song just before the really popular tune he had, it was a bit more uptempo, and it was barking/soulful like this, and I can't recall the name of it. This dude definitely had something. Track 16 - This one was completely lost on me. Can't explain why, but seemed to last three times longer than it actually was. Track 17 - I was nearly done with the car when I heard that first noise, faintly, and wondered it I was imagining it. I was there immediately. ABBEY! Sadly, Liebs never hit this point again, to my ear. Maybe close with Bob Moses... Dad introduced this to me after a trip to Boston for some vinyl. He said, "This is what the quartet was like. It's not the same, but they got there. A different plane, but they reached it. Now ramp it up by a factor of 100 and your getting close." I'm convinced there are two types of people in this world: Those who are touched by this music, and those who are dead. The out-chorus is one of the most exciting things I've ever heard. Once I learned the story behind the recording, it got better. It may be from the liners, I forget... Abbey was on tour in Japan and bumped into Miles. She was't happy with her Japanese drummer and was frustrated that she had an upcoming recording date. Miles suggested she borrow Al Foster and she took him up on it. Al brought David Liebman along for kicks and this happened. Awesome! I don't know how much post-production there was on this, but in that out-chorus, Abbey is most CERTAINLY inspired by what is going on (AAAAAALLL my LIFE!!!!). Great choice! And I feel vindicated in my reactions to Abbey after reading Jim's comment. #greatears

Track 01 - Confirmation - Clifford Jordan - (1982) Live at the Hasty Pudding Club Clifford Jordan - tenor sax; John Hicks - piano; Jamil Nasser - bass; Vernell Fournier - drums I recorded this live, when I was 12. A guy named Bob Merrill -- a grad student, I believe -- was booking great names (Hannibal was the week after this, Pepper Adams the week after that; later would see Cedar Walton, Tommy Flanagan and others before the series stopped. Also saw George Coleman with Terry Lynne-Carrington earlier that year). Legendary Boston radio host, the late Steve Schwartz was in attendance that evening, as well as Alan Dawson. You can read all about this on a blog where somebody has reposted all of this info and the recordings; I'm happy it's being shared, but was a little freaked out to read my own words on another page with a generated album cover. Anyway... A great night of music from a highly underrated tenor and a great band. When we arrived, the only seats available were directors chairs set up on top of a table top against the wall. Pretty cool way to experience music for a 12-year-old. Not a lot of new ground was broken in these two sets of music, but some straight ahead 4/4 bebop-inspired Jazz left my ears ringing and smiling right up to the point you're reading this. You knew I had to squeeze a John Hicks track in. Track 02 - Uptown Conversation - Ron Carter - (1969) Uptown Conversation Ron Carter - bass; Hubert Laws - flute; Herbie Hancock - electric piano, piano; Sam Brown - guitar; Grady Tate - drums My Dad was always playing this for us when we were kids. It was one of the few albums (along with Return to Forever and Stanley Clarke's Children of Forever) that my sister and I would listen to willingly. To us, this was like an extension of the Sanford & Son theme. Sadly, the rest of this album lacks what this track has. Great cover, though (open it up and that square shows Ron sitting with the child, with his tremendous hands in the foreground). I referenced this in a response to last month's BFT, so I had to include it. Track 03 - Riff-Raff - Frank Lowe/Grachan Moncur Quartet - (1985) At Brandeis University Frank Lowe - tenor sax, Grachan Moncur III - trombone, Donald Garrett - bass, Waren Benbow drums Now, I can't get too up in arms about the re-share of track 01 on somebody else's blog, because I found this recording on a blog. There's never enough Frank Lowe in the world, but the sound on this set is stellar. Such a unique and beautiful voice. Grachan is in hard form here, and I love it. I got to see Frank about six months before he passed, with Billy Bang. I took my Dad to the show, and he commented that, as we passed Frank and Ahmed Abdullah in the hall before the show, he made eye contact with Frank and, "It was like we'd known each other forever." Simultaneously, he said to Frank, "Hi, Frank," and I said to Ahmed Abdullah (whom I had never even seen a photo of), "How you doin', Ahmed?" It was weird. He nailed it, it was like we'd known them all our lives and were old friends. A pretty amazing night of music, though Frank played sparsely and seemed really out of it. Little did we know he was terminally ill at the time. Amazing stories of survival. Track 04 - Jonathan's Idea - Equal Time - (2009) Live at The Barley Pub, Dover, NH, September 21, 2009 Forbes Graham - trumpet, Thom Keith - baritone sax, Jonathan Paul - guitar, Tim Webb - bass, Mike Walsh - drums Okay, this was sneaky. This is a recording of my band from 2009. In context, this gig (like many of our gigs) was a highly energetic exercise, and the guitarist just broke into this out of the blue (which never happens), and it was *precisely* what I needed at that moment (just to relax, and try to offer some thoughtful expression). At the conclusion of the tune, I said in an aside to him, "Thank you. I needed that." Then, more fireworks resumed. I'm getting old for that. Thank YOU, Jim Sangry, for your comments on this one! Track 05 - Emerging Field Suite: Emergency Blue - Faruq Z. Bey with Northwoods Improvisers - (2009) Emerging Field Faruq Z. Bey - tenor sax, Mike Carey - bass clarinet, Skeeter C.R. Shelton - alto sax; Mike Johnston - bass; Nick Ashton - drums; Mike Gilmore - Vibes/Marimba I have to thank Charlie Kohlhase for turning me on to this guy. I was only vaguely familiar with him, and when I was doing the radio show, Charlie suggested I contact Entropy Records for some material. Am I ever glad he did! All of the stuff he put out with Northwoods Improvisers is worth the time to listen to it. Track 06 - Indigot - Ronnie Burrage - (1993) Shuttle Frank Lacy - flugelhorn, trombone; Joe Ford - alto & soprano sax; Hamiet Bluiett - bari sax; Cyrus Chestnut - piano; Charnett Moffett - bass; Ronnie Burrage - drums I know Burrage mostly from his work with McCoy Tyner, but also with the Bluiett Baritone Saxophone Group. This was a nice find from awhile back. Really interesting personnel. As far as I'm concerned, anything with Frank Lacy is worth owning. This cooks in such away that the heavy production doesn't get on my nerves. Moffett strikes me as what Stanley Clarke would have played like if he hadn't discovered stardom. Track 07 - With a Little Help From My Friends - Curtis Clark - (1998) Live at the Bimhuis Andy Sheppard - soprano sax, Ernst Reijseger - cello, Curtis Clark - piano, Ernst Glerum - bass, Louis Moholo - drums I absolutely fell in love with this the first time I heard it. Our band has done a cover similar to this, but we've never gotten quite this feel. It's such a refreshing take on the tune, and Sheppard was a boss. Curtis Clark seems to have settled in my area (not sure if he's still here), and I've gotten to see him a few times -- always worth it. Track 08 - Plight - Charles Tolliver/Music Inc. & Orchestra - (1976) Impact Charles Tolliver (solo), Jimmy Owens, John Faddis, Larry Greenwich, Richard Williams, Virgil Jones - trumpet; James Spaulding (solo), Charles McPherson - alto sax; George Coleman, Harold Vick - tenor sax; Charles Davis - bari sax; Garnet Brown, Jack Jeffers, John Gordon, Kiane Zawadi - trombone; Stanley Cowell - piano; Clint Houston - bass; Clifford Barbaro - drums So you think you know big bands, eh? My uncle had this when I was a kid (he may have actually bought it from my father, now that I think about it). Blew my mind wide open the instant I heard it. I didn't particularly care for Spaulding's work until I heard this. Thereafter, I heard everything he did differently. Seems I'd always begrudged him for the guys he wasn't instead of appreciating him for who he was. He has such control of his solo on this, and works against the arrangement beautifully. He handled the David Murray bands in similar fashion. As he aged, to my ear, Spaulding really developed a strong voice. Tolliver is my favorite trumpet player, followed very closely by Lee Morgan, then Hannibal (sensing the theme?). This is exemplary of *why*. Stanley Cowell is one of my favorite writers and certainly one of my favorite solo pianists, but here he shows just how much he brings to a group setting. The other two band tracks on this album are also stellar, one featuring Spaulding, the other featuring Charles McPherson and George Coleman. You can't go wrong with this lineup! Track 09 - Drafadelic in Db - James Carter - (2000) Layin' In The Cut James Carter - bari sax; Jef Lee Johnson, Mark Ribot - guitar; Jamaaladeen Tacuma - electric bass; Calvin Weston - drums This album came out at the same time as Chasin' The Gypsy. I'm forever indebted to Ken Eisen, my predecessor in the DJ chair, for introducing both to me. Ken has great ears and was skeptical when these two albums showed up in his pile, but both were terrific. I know some get frustrated with James showy nature (me, too, sometimes), but they guy has CLEARLY listened to it all and when he's locked in, there's nobody like him. At times, though, I just wish he'd forget he's James Carter and just... *play*. This lineup sneaks up on you. Originally, I saw the instrumentation and just thought, "Oh, electric guitars." *LOOK* at those names! Even if you don't think you like James Carter, I recommend seeing him life to actually appreciate what he's doing. Track 10 - Last of the Hipmen - David Murray Octet - (1981) Home David Murray - tenor sax, Henry Threadgill - alto sax, Butch Morris - cornet, Olu Dara - trumpet, George Lewis - trombone, Anthony Davis - piano, Wilber Morris - bass, Steve McCall - drums When I first heard this, I was absolutely taken by Henry Threadgill's alto solo. This may be my faorite of the Murray octet records. It's a great tune, a great arrangement, a great HT solo. Then Olu Dara reached the kid who didn't trumpet players. Enter the boss. Man, Murray's tone is just so, ****ing MUSCULAR! I always felt that this solo was sort of his moment of nirvana in this setting (followed closely by his solo on 3-D Family from the same album). I don't know why Black Saint pinched the sound of Wilber Morris' bass so badly, but the music gets beyond it, somehow. Steve McCall does his thing -- a damned near perfect track, IMHO. Track 11 - With A Little Help - Curtis Clark 5tet - (1999) Make Believe Felicity Provan - trumpet, Rob Armus - tenor sax, Curtis Clark - piano, Jacko Schoonderwoerd - bass, Eugene Gondi - drums I found this track accidentally while searching for the other Curtis Clark track. I actually liked this one just as much if not more, so I had to include it, as well. I know nothing of Rob Armus, except that he really sounds a lot like Richard Gardzina to me. Thanks to all who participated!

Dad's responses: First listen responses to your BF test: 1-CJ at the Pudding '88 2-Uptown Conversation with Ron Carter, Hubert Laws, Hancock, Tate 3-Riff-Raff- Frank Lowe,ts, maybe Moncur or Joe Bowie,tb? 4-Equal Time 5-Not a clue; regional players? not too heavy 6-Tb-led post bop, nice tune, tricky head 7-Unknown ss/p duet Charles Lloyd influence (yawn) 8-Plight Tolliver big band Impact cd 9-James Carter? Nice, tight unit 10-Last of the Hipmen, great Threadgill, Murray Octet 11-Unknown tenor, nice, measured solo Then, Is it Curtis Clark on 7&11? If so, whose the tenor? My first thought on #6 was Frank Lacy but wasn't sure enough to even say maybe?

Negative, but boy, that'd be a nice addition to that lineup!

He didn't want to play spoiler (it's my father). I'll bug him to post next week. If he doesn't, I'll share his answers (I'm not afraid).

That's some high quality cement, because you are spot on. I like where your ears went, but actually late 60s (though, without question, these are some of the founders of that sound). Both lean towards the Avant Garde. No, this is a tough one. I think a lot of people are going to hear this that way (they usually do). Again, high quality cement, my good man! Correct, sir! Safe to say you don't lean towards the avant garde? Agreed. Thanks for the input. I dare say you did better than you seemed to think.

It is not.

That is the part I'm hoping people will fill in. A hint: These are ALL well-known musicians with great résumés. I'll again offer the hint that each guy plays his signature line during this tune.

I think the personnel on track one will throw some people. I also think people might be over thinking it. Each of these players plays his trademark licks on this track. Not CM or RD on track 3, but heavy hitters for sure. Welcome, Spoon! Love the Kenny Clarke comparison, but not him. Not Moody, either. IMHO, I put this guy a notch or two above James. Not Shepp on 3, but I think it would be safe to say out of that school. Uh-oh... Jim has arrived, expecting a slew of IDs! Correct, sir! Embryo records, actually. Correct on both guys. ID'd by Bill. Correct, sir! Not Gabor. Not David. Correct on nearly all counts, though for me, this track is the highlight of this album. #truth I LOVE the way you worded this. Perfect. Thank YOU for the thoughtful responses. You did about as well as anyone who didn't receive a personal invite (and only one of those four has participated, privately; and he cleaned up).

Correct on the Lennon/McCartney assessment. Many people make that connection when the song is played at this tempo.

Nay, sir. Ding! Ding! Ding! Ding!2