tkeith

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Everything posted by tkeith

  1. Sign Up For a Blindfold Test in 2020

    July, please.
  2. Means I should probably give it a second chance -- I would not challenge your ears. Ouch! Missing Wardell! *SHAME* on me.
  3. Got an early ear on this while I had time. Life is not affording much of that these days, so I’ll drop my comments early on this one. Track 01 - My Friend Louis! Nice! Tune is South of the Border Serenade by Adegoke Steve Colson from this fantastic album. Track 02 - Not 100% sure what this is, but has that India Navigation sound. Doesn’t quite seem to have Chico Freeman’s balls, but somebody in that general realm — not fully outside, not fully inside. Not sure who any of these folks are, but this is a really thoughtful track. Track 03 - I’ve amassed a reasonable amount of this sort of thing in my collection, but don’t listen with the same ear as with “Jazz,” so I’m quite inept at identification. I do like this, though. Reminds me of Roswell’s Malicool album. Track 04 - At first, I was hearing this as more modern than what it is. It’s that classic, burly tenor sound out of which David Murray, James Carter, (who were my first two thoughts) have come. I’m not certain who this is, but I could listen to a whole lot of this. Don’t recognize the sidemen. Track 05 - This is a change. Early impressions had me listening for the 2-string bass of Morphine’s trademark. Seems more likely that this is one of those Adam Rudolph/KVM projects. Not my first choice, but I love the energy and attitude. In the right frame of mind, this would be killin’. Loses me a bit during the “noise” section, but the first half works for me. Track 06 - Bizarre and I can’t believe I’m going to suggest this, but sounds like Mal Waldron on electric piano, which is something I am not aware of existing. If not Mal, somebody owes him some mad royalties. It’s trippy, but I dig it. Track 07 - Not sure who/what this is, but I’m not really hearing it. Could be Joe McPhee. If I’m in the head for it, I can do a lot of this stuff, but this one is missing the mark for me, today. Track 08.- Another trippy cut. I like this but want to like it more than I do. I think I like the concept more than the execution. Sort of William Parker meets a Butch Morris conduction. Track 09 - First impressions had me leaning Frank Wright, but that’s Hannibal on trumpet. By association, that has to be Diedre Murray on cello. Ah, okay — it’s the closer from this. I forgot Reverend Frank made an appearance on this. Track 10 - Weird recording. I’m hearing the tune (but can’t name it), but then it gets all squirrelly. Is that Stella? Not sure who the pianist is, not sure I like them, but they sure as hell had me listening. It occurs to me that this is a super long BFT. Track 11 - Fretless bass. Otherwise a little too Windham Hill for my tastes. Track 12 - No idea, but it reminds me a great deal of one of the bands I included on my last BFT, The Jazz Aethetic. Nope, the lyrics change that. I like this, but have no guess what it is. Track 13 - Ah, no you don’t. That’s my guy. Title track from this. Took me YEARS to find a copy of this album (CD). The solo track doesn’t really work, but the two quintet tracks are epic. Track 14 - This one misses for me. Self-serving musicians’ music that seems to lack purpose. When the trumpet solo starts, I appreciate the music more, but frankly, I”ve lost interest at that point — if it weren’t a BFT, I would not have made it this far. Not sure of the trumpeter nor the piano. I’m not buying the tenor at all. This suffers from what all the Braxton stuff suffers from, IMO, there’s just no story. It’s all head and no heart. I know I’m ripping here, but I just don’t hear this at all, and I have a soft spot for free jazz. Some pleasant surprises that I recognized, as well as some stuff new to me that I look forward to learning about. A couple of dogs for me, but on a long test, that’s bound to happen. Thanks for the listen!
  4. Blindfold Test 185--Link and Discussion

    Got to this one while working on some stuff, today. Wasn't much inline with my typical listening, but that's a healthy exercise. I'm definitely getting shut out on this one. Track 01 - I want to like it more than I do. Has elements of a Mal Waldron feel, but I find the main them kind of cutesy. It’s not good or bad, just can’t tell if it’s serious. I appreciate when the bass comes in (or when I became aware of it). It’s missing something for me. No idea who this is. Track 02 - I’m liking this one more. Has that 80s tenor sound, but also has the feel of a survivor. Not someone I’m overly familiar with, but I like this a lot. Track 03 - Classical player. This has none of what draws me to the saxophone. Fine musicianship, just not my bag. Track 04 - No idea. I’ve got some of this in my collection, but not stuff I play a lot, and that’s sort of how it strikes me. I like it, but don’t know how much I would play it. Track 05 - Trippy opening. Modern tenor. It’s interesting instrumentation, but the overall feel misses for me. I’ll get kicked for this, but sounds like too much time in the practice room and not enough time on the bandstand. Be a good soundtrack for having friends over — better than pop radio, but wouldn’t require much of my attention. Strikes me as the kind of music people would recommend to me if they hear I like Jazz. But then, I’m a crusty old bastard. Track 06 - I liked the melody and was enjoying (still am, actually), but realized a few minutes in that I wasn’t really listening. Could be my mood/ear, but just didn’t seem to hold me. A slight uptick when the piano solo started, but I wandered, again. Track 07 - Weird crossover, but I like it. Has that CTI drum sound. Again, not sure it’d make my “listening” pile, but it’d be a good social choice. Very late 70s/early 80s keys. Oddly, tenor does nothing for me, but I like the rest of it. Track 08 - Love the song; not the version. Lacks exactly the feel of the song (which is my rub with most of this ‘smooth’ stuff). Hard pass. Track 09 - Again, just doesn’t maintain my interest. Not sure who it is, but I’m not feeling the vibe, at all. I assume somebody like Dirty Dozen Brass Band, but I’m just not feeling it. Far more commercial flavor than I can warm up to. Track 10 - Prog rock meets Tom Scott. I don’t really have an opinion on it. It’s interesting, but don’t think it would find much time on the turntable. A little heady for the social thing, though. Type of thing that I’d enjoy when I’m doing something (working on something) because it charges me up, but not sure I’d just sit and listen. Track 11 - Interesting. I mean, I could type most of what I typed for the previous entry. I like this more, but I’ m not sure it’d make the listening stack. Reminds me a bit of some of Chris Klaxton’s band, but I find that more inline with my listening preference. Nothing ‘wrong’ with this, just doesn’t hit me in the gut. Track 12 - This one resonates better than the earlier brass band. Reminds me of a soundtrack to the original Going In Style. Not a musical style I gravitate towards, but this is well done. Track 13 - Reminds me of a band I saw last week. Again, just kind of misses the mark for me. I’m not hearing the “music” in this song. Feels like aggressive shopping music to me. Track 14 - Obiously St. James Infirmary, but no idea who by. I kind of like it. Has a trippy Doors/Gary Moore sort of feel to it. It’s a little angry and I like that.
  5. BFT 184: THE REVEAL

    Track 01 - The Twister (Waldron), Mal Waldron Quartet, (1959) Music Minus One: The Blues Minus You Ed Xiques - tenor saxophone, Mal Waldron - piano, Wendell Marshall - bass, Charles Perry - drums The realization that Waldron was one of the pioneers of play-along was quite a discovery to me. The fact that these volumes (at least on CD) include the demo track with the horn is, for me, extremely interesting and helpful. Jamey Aebersold has put in a great amount of work to make his series what it is, but most of it lacks the feel. This does not. Mal Waldron is not about technique, but rather, pure soul. Track 02 - Nisha (Hayes), Louis Hayes Group, (1979) Variety Is The Spice Leon Thomas - vocals, Frank Strozier - alto saxophone, Harold Mabern - piano, Cecil McBee - bass, Louis Hayes - drums, Portinho - percusion, Titos Sompa - congas Bought this album for 99¢ at Looney Tunes in Boston back in the day. There’s a few fillter tracks, but some outstanding stuff, as well. I always enjoyed Leon, but this track, to my ear, is something completely different. Not going to push Kind of Blue out of the rotation, but still a worthy listen. Track 03 - Pithecanthropus Erectus, John Hicks/Boris Koslov/Tommy Campbell/Seamus Blake, (1999) Charles Mingus: More Than A Play-Along John Hicks - piano, Boris Kozlov - bass, Tommy Campbell - drums, Seamus Blake - tenor saxophone In the vein of the old Waldron sets for MMO, this one manages to capture the feel of a Mingus rhythm section. Best to play with real people, but if you HAVE to rely on a canned backing for practice, this is not a bad way to go. I’m not all that enamored of Blake’s playing, but I’d listen to John Hicks tie his shoes. Track 04 - Miyako (Shorter), Malachi Thompson, (1997) 47th Street Malachi Thompson - trumpet, Billy Harper - tenor saxophone, Steve Berry - trombone, Kirk Brown - piano, Harrison Bankhead - bass, Dana Hall - drums When I saw the personnel on this one, I bought it… just in time for BOTH of my CD players to die. I owned it for ages before having the chance to hear it (had put it into one of the cars and forgot it there). Anyway, it’s frankly NOT all I hoped it would be (Harper AND Carter J?!?!), but, as with most of Malachi’s stuff, worth a listen. Seemed to me a good Shorter tune is always a positive addition to a BFT. Track 05 - Seven-Toed Sloth (Cushner), The Jazz Aesthetic, Unreleased (c. 2004) Adam Cushner - tenor saxophone, Omar Butler - trumpet, Marc Sorel - piano, Silas Meredith - bass, Chris Paxton - drums This was a great discovery for me. Through the magic of a “post a clip of your playing here” thread on the saxontheweb forum, I came across this tune. I was blown away and contacted the guy (Cushner) privately because I had a radio show at the time on Maine Public Radio. He sent me five tunes from this set, all good, though this is the standout. He was a computer science major who also played saxophone (and life has taken him in that direction, as well). I have reached out to him via social media to inqure about the name of the trumpet player, but as yet have not heard back. Just consider how much music of this quality is happening that we are never getting the opportunity to hear. Moral of the story: Logout, turn off the tube, and go hear some live music from musicians you’ve never heard of — that’s how it starts. Track 06 - The Day After (Lupri), Matthias Lupri Group, (2004) Transition Sonic Matthias Lupri - vibes, Cuong Vu - trumpet, Mark Turner - tenor saxophone, Nate Radley - guitar, Thomas Kneeland - bass, Jordann Perlson - drums From the aforementioned DJ era, this was one of the few interesting recordings provided by the major distributors (yes, I am a cynic). Most of what they provided was cold, soulless music presented in beautiful, glossy packaging. Very little of it ever saw the air (my format trended towards avant garde), and though this is more towards the European feel for my tastes, it’s stayed in the collection because there is something interesting about the entire record. Not a big Turner fan, but he works well in this setting. Track 07 - Nisha, Louis Hayes Group, (1977) The Real Thing Woody Shaw - flugelhorn, Rene McLean - alto/tenor saxophones, Ronnie Mathews - piano, Stafford James - bass, Louis Hayes - drums Yes, a repeat band AND a repeat tune, but very different and very beautiful. There’s so much to love about this cut for me. It’s a nice tune and manages to be both a ballad and a grooving swinger at the same time. Woody is in top form here and the track is representative of the best stuff of the period IMHO. Track 08 - What’s Goin’ On (Benson/Cleveland/Gaye), Louis Hayes Group, (1979) Variety Is The Spice Frank Strozier - alto saxophone, Harold Mabern - piano, Cecil McBee - bass, Louis Hayes - drums, Portinho - percusion, Titos Sompa - congas Yup, Louis, again. Never really being a pop radio guy, this was the version of the song I was most familiar with. Oddly, it led me to my obsession with the music of Marvin Gaye. I have Strozier’s record of the same name from the same period, but to my ear, this is the definitive interpretation. This record was a dollar very well spent. Track 09 - Illusion of Grandeur (Willis), Junior Cook, (1981) Somethin’s Cookin’ Junior Cook - tenor sax, Cedar Walton - piano, Buster Williams - bass, Billy Higgins - drums This was one of my favorite records from my teen years. And on an album of really strong tracks, this was always the class of the bill to my ear. Cedar Walton is how I found my way to the record, but that turned me onto Junior Cook, a voice so unique even if you only focus on his dedication to NOT playing like Coltrane. This tune led me to the music of Larry Willis and I’m sure glad it did. Nothing but love for this track. Track 10 - First Mind, Corey Wilkes & Abstrakt Pulse, (2009) Cries From The Ghetto Corey Wilkes - trumpet, Kevin Nabors - tenor saxophone, Scott Hesse - guitar, Junius Paul - bass, Isaiah Spencer - drums I came to Wilkes through the Chicago scene (and Spencer the same way). This is one of those weird, modern albums. About half of it, I really like. About half of it, I abhor. Like many modern releases, it suffers from the need to fill up 60+ minutes of album space. Trim the fat, and this is a really good record. I find Nabors a bit math-jazzy, but overall, this is honest, creative music. Track 11 - Wisdom, Anthony Branker & Ascent, (2009) Blessings Steve Wilson - alto saxophone, Ralph Bowen - tenor saxophone, Clifford Adams, Jr. - trombone, Bryan Carrott - vibes, Johnny King - piano, Belden Bullock - bass, Wilby Fletcher - drums, Anthony Branker - musical director I know very little about Branker, accept that he doesn’t seem to actually play on his records. That made me curious and I found out the following: In 1999, medical problems stemming from two brain aneurysms and the discovery of an AVM (arteriovenous malformation) led him to yield his trumpet playing and forced him to take a leave of absence from teaching. And while I’d have to say, that sucks, I’m glad that he’s staying active in composing and presenting this music. This was another find through the DJ experience. Track 12 - Conversion Song (Hall), Dana Hall, (2009) Into The Light Terrell Stafford - trumpet, Tim Warfield - tenor saxophone, Bruce Barth - piano, Rodney Whitaker - bass, Dana Hall - drums I was originally going to go with the title cut, but it’s very heavy on the electronics. Additionally, the day after I programmed this BFT, I heard this cut and instantly regretted not choosing it. I know little about Hall beyond what appears in this test, but I will say, this is an interesting record. It’s not a great record, but there is some really hard listening in there.
  6. BFT 184: THE REVEAL

    Ironically, I love Strozier of the 70s (particularly Remember Me), but also love the earlier work, particularly with McCoy and John Gilmore.
  7. BFT 184: THE REVEAL

    For listening purposes, there will be no difference -- the full band tracks are all the same, only the book will differ.
  8. BFT 184: THE REVEAL

    It's a book & CD set (jazz play-along). Each track has a duplicate minus Blake.
  9. Welp, since Ken has posted the answers to #183, I'll go ahead and unleash the beast for #184. Download and online player are in the usual place: http://thomkeith.net/index.php/blindfold-tests/ There's a range in here. I expect a number of folks to do very well on this one. Hopefully, there are some surprises, as well. Good luck!
  10. I get what you're saying, but this band (all of it) probably leans a little more towards post-bop than McCoy, though the connection is certainly there. You have nailed precisely why I included this track. The whole album is not here, but it IS creative and worth the listen. Again, precisely why this track was included. You've pegged what makes this album special for me -- sounds like they give a damn. Again, you are right on it. Tracks 11+12 give me hope that the music I love is not dead, but in fact thriving in small pockets.
  11. The head to B. Harper's "Capra Black" - crazy!!

    Correct, Jim. I was going from memory and added a beat at the end. It is in 9. My bad.
  12. The head to B. Harper's "Capra Black" - crazy!!

    Call of the Wild and Peaceful Heart is, I believe, written in 10/4
  13. Basically new to me. Stuff I didn't even know was out there. Sometimes, that's stuff that's 60-70 years old. In this case, it's newer than that.
  14. Quite correct. A fun story accopanies the reveal on this one. You may know the tune, but unlikely the version. My guess is you DO know all the players. Indeed. He is not. Negative, but I'm glad it's got your mind working. This one has a great story to it. It's an album I was slow to warm up to, but it always captures my attention. A bit outside of my normal sphere. Mmmm... could be.... I will be shocked if both are not true. Agreed. You likely know some of the personnel. Was listening to another cut off this album today and it knocked me out. Perhaps I chose poorly. I will be surprised and impressed if you get this one. Glad you enjoyed, sir! Not Hutch. Definitely a name I have seen in these parts, though. The reaction is no surprise. A terrific band with terrific personnel. Unfortunately, a recording slightly off the radar. Smiling Billy is correct (and now Felser will nail it). Not Jack, but I'm sure he is an open influence. Not the guitarist's date. I can see why your ears would take you there. I think Jimmy gets less credit for his influence on the modern style. A lot of guys, I would say, have him as an influence-once-removed; he influenced someone they consider a direct influence. I mean, I WANT to... but that takes a lot of other options for a test out of play if you're trying to create a cohesive listening experience. The last track has been a pleasant discovery for me. Actually, true of 10-12.
  15. Not Burton (though I'd LOVE to have included some of his stuff -- THE guy of his generation of tenors, IMHO). I see where the instrumentation on #4 would lead you down a Shaw path, but I don't hear the trumpet player from that side of the coin -- definitely more out of the Freddie side.
  16. Correct tune on track 3, and you are correct that it is not Mingus. I'm wondering what you're wondering. I hear what you're hearing, and it's a good, on-point analysis. You are correct that this is someone lesser known, at least lesser known than Freddie.
  17. BFT183

    Not chancing that I'll be able to get to this later -- had a little time tonight. Don't usually sleuth but had to on a couple and had a moment. Track 01 - Not sure who we are listening to, but accent sounds French (thought it was fake at first). Thought I heard S’wonderful before Time After Time started. Busy fingers, but I’m not sold. Okay, so we’re full on medley, but I can’t give you this song. Oh, I Get a Kick Out Of You. Tea For Two. Track 02 - Sounds like a Harold Land head, but then the tenor voice sounded like Rouse on the head. Now that we’re into the improv, no idea, but it’s neither of those guys. Good ideas, but that tone doesn’t click with me. Sound of the recording reminds me of a later Don Byas record I have, but this doesn’t have the “it” that that has. Sounds like a modern recording going for that sound to me. Don’t recognize the trumpet at all. I like the piano best of the rhythm section. Drummer is kind of bugging me with his fidgeting. Nothing wrong with it, but I’m not feeling like I’d go back to it. Track 03 - Wind bass. Doesn’t seem in full agreement with the piano, though. Could be early Jackie, but I think it’s someone aiming for Jackie. These drums probably fidget just as much as the last cut, but it totally works here. Hmmm… Bill Hardman for sure. Wait a second. That’s Mal Waldron’s left-hand, so that has to be Ray Draper. It IS J-Mac! A little checking the collection and it’s track 1 from this. Man, I love Mal Waldron! Track 04 - Seven Steps To Heaven, but by whom? Nylon-string guitar. Not sure who it is. It’s busy, but it works, particularly the bass. No guess. Track 05 - It Had to be Who? Not digging the vocalist. French horn? Cut misses for me. Track 06 - I want to say Zoot, but recording sounds too new. Also the guitarist is very quote happy. Not Zoot. Good player, but I’m missing the story. Duet breakdown is cool. Track 07 - Well, it’s not by the composer, but this is from The Queen’s Suite. Sunset and the Mockingbird. Glad to hear this song covered, but man… the original is just SO incredible. These are not people I know. Track 08 - Harold Arlen tune? Uh! No. Frank Loesser. If I Were A Bell. Flyin’ vibes! Ah! Tommy Flanagan for sure! That left-hand is unmistakeable (almost as much as Waldron). Okay, sleuthing occurred — tried to think of vibists in my collection who worked with Tommy. It’s from this. Track 09 - Recognize the tune, but can’t name it. I don’t know the tenor. Some Marsh-like feel in there, but no way. More recent recording. It’s just not clicking for me. Obviously a helluva player, but I’m not feeling… “it”. Track 10 - Different sounding guitar (steel body?). Darn That Dream. And a second guitar. Second sounds like nylon-string to me. That tells me one thing for sure: I have no idea who this is. Appreciate the general, laid-back feel, though. Track 11 - Bird tune… Segment. Beyond Daryl Harper, I won’t even hazard a guess at most clarinet players. However, I do know Ed Bickert, and the association makes me think Terry Clarke (perhaps a Concord recording?). So, I’m going to hazard a guess: Ken Peplowski. Track 12 - Goodbye Porkpie Hat. Niiiiiice bari. I can name everybody it ISN’T! Loses me a bit as we move into the improv. Too choppy, not enough story. Like the sound, but disagree with the ideas. Nothing wrong with it, just a matter of preference. Porkpie in 3? Interesting. Always thought if you sped the tune up you’d have a bitchin’ Blakey tune. Track 13 - I *have* Met Miss Jones. She was NOT a Blackbird. Two bitchin’ musicians for sure. Alto sounds a bit more out of the later in-the-tradition guys than I’m familiar with. Perhaps Herb Geller? Time is pretty impressive. Not sure on the pianist. I hear the accomplishment, but I also hear some strange ideas. Track 14 - Creole Love Call. Digging this. About 2:45, it occurs to me who the alto is — gotta be Lee Konitz. I don’t have this, but I sleuthed and this explains why I like it — LOVE the ‘bone! It’s from this. Track 15 - I’m in. I’m ALL in. Can’t tell if this is one piano, or a looped piano. My first thought was Ibrahim, but it’s way too agressive. I’m diggin’ it, though. Going with looped. It's cool, but doesn't quite swing. Some neat stuff in here!
  18. Kahil El'Zabar and David Murray

    Thank you!
  19. Now reading...

    Trouble Finds Me by Ross MacDonald
  20. Kahil El'Zabar and David Murray

    Do you have the dates on Amherst?
  21. The head to B. Harper's "Capra Black" - crazy!!

    I have a chart for Croquet Ballet (that blew my mind, and showed how bad my transcription sucked!). I've learned Priestess, but never wrote it out. Another great tune. That guy has magic when he writes.
  22. Songs you DO want requested

    Love this answer, but I'll be more specific: There's a Small Hotel, Soon, Isn't It Romantic Also, Wives and Lovers, anything by Billy Harper, anything by Pharoah Sanders... basically, please just give me a hip audience. (Recently ended a set with Pharoah's Greetings To Idris, and as we were breaking down, sound guy put on a live recording of You Gotta Have Freedom that I was not familiar with. That's a good night.
  23. Songs You don't want requested

    Body & Soul, Recordame, Blue Bossa, All of Me. Leave the chestnuts in the bulk food section, please.