tkeith

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  1. BFT 194 Link and Discussion

    Well, sax players were never really known for keeping the best company.
  2. BFT 194 Link and Discussion

    Track 01 - Sounds late 80s to me, but the drumming sounds like Dana Hall, but busier. What was that alto transition into the piano solo. Seems out of place. Something John Hicks-ish about the piano, but every time I was waiting for the tell-tale line, it wasn’t there. Maybe Joe Bonner? I don’t know the alto player (but you’ll tell me I do). Good opener, but not sure where I am on it long-term. Track 02 - I’m all in. First thought was Shepp, but you wouldn’t do that. Wait, that’s Ricky Ford. GOOD Ricky Ford. Good chance I have this, but it’s been awhile since I’ve delved into Ricky. Maybe one of the Jaki Byard dates? Though that sure sounds like Cyrille and not Ben Riley. I need this if I don't have it. Track 03 - Not sure I’m feeling this one, dude. Intonation counts for something. No phones, but that sure feels like electric bass to me, and I’m not digging it. This ones a miss for me. Track 04 - Redeemed. The Walkin’ Blues, but I can’t say who by. Okay, so that’s gotta be James Carter. This has to be one of Lester Bowie’s organ projects. Or are you playing me and this is one of James’ influences from Detroit. Either way, burns and makes me happy. The guy I’m thinking of, I can’t pin a name on him, but he’s a guy James worships. Don’t think it’s Lester, either. Maybe one of the guys who is in those bands, though (Zollar, Malachi Thompson, or somebody like that). Third listen. It's James. He's a little off, but it's James. Sounds like his guys (Gerard Gibbs on organ, Dr. Professor Leonard King on drums). Track 05 - Yes, please. Gotta be Fred and Diedre. Not something I have, though. All day long, this. How do I NOT have this? Track 06 - Ah! At first I was all ALBERT! Then I realized it’s the closer from this. Track 07 - Oh! It’s the title track from this, but there is something about that intro that always cries out Eric Satie to me. And what’s not to like about the personnel on this!?!?! Why is Jimmy Hopps not a household name? Track 08 - First instinct was Karin Krog, but I”m wrong. That’s Carmen McRae, no doubt about it. I don’t have this, and if I did, I wouldn’t keep it because of the drummer. That’s Joe Pass on guitar. Ah… now the choice is clear to me, that’s Ray Brown. Track 09 - Jitterbug Waltz a la glissando. Hmmm… I know this guy… the phrasing is there, but I’m not getting the tell-tale lines. When I hear Art Tatum, this is what I WANT to hear. Getting a Hutcherson vibe (no punt intented), but thinking maybe one of the guys that was on some of those Liberty sessions but is lesser known. Not sure I’d play it this way, but he means it, and that’s good enough for me. Track 10 - Timely. Closer from this. Perry is on my short list of tolerable clarinetists. Track 11 - Man, this is like two tunes. Drums/bass are doing something I like, but not against the horns. I want it to drive more, and be more in sync. Also is super familiar. Kill me and tell me it’s Braxton (I hope not, because I actually like it). Yeah, I”m really wanting the drums to match the rhythm of the horns here (a la Equal Time). I know I’ll kick myself on this reveal. Track 12 - Blackwell, for sure. Oh! Yeah. “I is a artist.” It’s the opener from this. Track 13 - Come Sunday, a la Cedar. One of the early albums in my collection. Twilight Waltz and Head and Shoulders were my favorite cuts on this. Did ANYONE walk like Leroy!? From this. Man… nobody is like Junior. Track 14 - No you don’t, son. EVERYBODY should own this. Closing out this in style.
  3. BFT 193 Link and Discussion

    Track 01 - Sounds later than where it fits. This reminds me of a conversation with an area saxophonist about playing with a big band where he dreaded playing In The Mood. Years later, he played with another band in another state, it the experience was the opposite — it was FUN to play In The Mood. He had the realization that the former band all hated that song as much as he did, and it showed. While this sounds like a modern interpretation of this music, it’s clear that there is joy in the act of the players. No guesses. Could be a Lincoln Center project, but feels more real than that. Track 02 - No idea what it is, but about a minute-and-a-half in I got a distinct animation vibe. I don’t mean that as a criticism, it was more of a wistful rememberance of the cartoons of my youth. Track 03 - I enjoyed this, but other than the arco, can’t really say why in particular. I know that I’m listening as I deal with some work BS, and it’s keeping me sane, so there is that. Track 04 - I like this. Flute over the top of the smokey background. This is nice. Track 05 - I like this one, too, but the harp I could do without. Nice brushwork. I want to like the alto more than I do. Has elements of a lot of guys, but can’t really match the sound. Elements of Rahsaan, Blythe, Carl Grubbs… I don’t believe it’s any of them. I like the overall tune, though. Track 06 - I wasn’t sure I was going to like the arrangement at first, as it’s very dense, but by the later part of the song, I found I really liked it. Has that David Murray density (maybe a Sam Rivers project?). Lead alto is strong, though I find the improvisation meanders a bit. Overall, still a very good listen. Track 07 - Not sure what’s going on with this one. Nothing ‘wrong’ with it, just doesn’t inspire me at all. I like the minor feel of the tune, but it feels like the soloists don’t really build on that. Notes more than music. The trombone solo is STRONG. Doesn’t quite bail out the wasted opportunity, but made me want to give it a second listen. The feel change doesn’t completely work, but does have me wondering if this is a Ginger Baker project. Track 08 - Feels like Fred Ho’s band to my ear. Funny, I don’t think I’ve ever owned a Fred Ho album, but I always like what I hear when I hear it. I should probably do something about that. Ugh. That soprano has the precise phrasing that drives me nuts about mondern, conservatory players. Warmed over Wayne Shorter, and not the best Wayne at that. Tenor solo is out of that school, but with a lot more fire. I think the track works, but the soprano stands as a missed opportunity. Track 09 - I’ll put this in the guilty pleasure category. Like a lot fo Gato’s stuff, it’s got all of the post-production stuff I instinctively rail against, but I can’t help but have a soft spot for this. Big-ish tenor sound (hard to tell with all the effects). Has the strength of Dewey Redman, but I don’t have any knowledge of Dewey doing anything this electronic. Has some of the quality of the soprano solo that rubbed me the wrong way, but this track works. There’s a VERY commercial Bob Berg record like that I really like. There’s that 70s, post-Coltrane line that every guy made a career of. But, again, this works for me. I’m thinking this is early enough that it was still more real. Ah yes, likes him some Coltrane (who don’t?). Track 10 - Stark contrast. No idea, just the straight-ahead ‘sort of a boo-gee woo-gee music’. Track 11 - Bass hook, vampy feel. You had me at hello. Why is my mind thinking Yusef? I think I have this, but damned if I’m going to peg it. Track 12 - Very McCoy feel. In fact, the melody borrows from Search For Peace. Very pleasant, great feel. Could actually be McCoy on piano. Thinking maybe Franklin Kiermeyer on drums. I’m going to withdraw my McCoy comment, the ideas are right, but at half speed. It’s not a bad thing, but McCoy seemed to have a period where everything was MANY notes, and the sound of this recording would match that period. Track 13 - Has that Jan Garbarek feel. Also a touch of Old and New Dreams. A bit more dense than either of those, though. Works, whatever it is. Meh… now that it’s into the improv section, it’s lost what I liked. Had that dirgy feel of the protest music coming out of South American conflict, but once the saxophone solo starts, the approach is a little too quiet storm over that feel they had created. Definitely a challenging test — don’t think I got one player, let alone an actuall ID. On the whole, a lot to like even though most is outside of my typical listening zone. Thanks for sharing. I was hearing Nance here, too. Jesus... mark the calendar -- I heard Brecker and didn't hate it. I'd better take my temperature.
  4. BFT 192 Link and Discussion

    Finally got around to this. Life was already sucking up too much free time, but now I have to do my thing online, which is MUCH more preparation. Gah! We all have problems, I'll quit my bitchin'. I think I enjoyed most of this more than my comments (upon re-reading) would lead you to believe. Excepting Track 7, that is. Track 01 — Man, feeling generous love for this off the bat. Contemplation, maybe? Digging the absolutely hell out of that bass. Reminds me of that Tim Webb guy. Nice! Contemplation it is. Wait, I know that tenor. Yeah, I’m definitely going to play this after I finish this BFT. Tenor is a touch of modern with a strong nod behind. Lovano, maybe? Has a bit of that Mobley thing that Joe has going on. Just prior to the Invitation quote, feels like it loses steam a bit. There we go — bebop lick gets it back on track. I’ll guess it is Joe, because it desperately wants to stay “inside” (not a bad thing, but do that if that’s the case). Pianist calms down nicely to start the solo. I’ll give them this, they’re not doing McCoy. Maybe Joe Caldorazzo? Drums feel a bit flabby to me… kind of that Schmitty Smith feel, but seems to constrained to be Marvin. Tain? No idea who the bass is, but I think I’m in love. Track 02 — Don’t like that electric bass, but like the Bitches Brew feel in the drums. Got a remixed Lennie White feel. I’m not in love with the tenor sound, but at least the spread quality is unique. Reminds me a bit of Radio Citizen, but is more alive (i.e. real). Just raw enough to win me over, I think. Almost like Ricky Ford with more time in the rudimentary shed. Does feel like this is multitracked (drummers don’t seem to be tuned into the soloist at all — just doing their thing). Track 03 — Sax player is stumbling over his toungue like Dudu tended to. As usual, I know the damned tune, but can’t come up with the name. I appreciate the bass, but that sloppy articulation has me cringing. And that’s speaking as the king of slop. Yes on the bass, all the way through. But overall, didn’t hold my attention. Track 04 — I’m a sucker for 12/8. Also for vibes. I want to like this, but wish I could hear the lyrics better. I mean, I do like it, but want for cleaner sound. It gets dirty, but has an undercurrent of politeness. Wouldn’t be my top choice of approach, but I like that it’s unique in that way. I think this would be really fun to see live, because there are times where the seem to be backing off a bit because of the studio (to my ear). I like it, though. I like that while it has numerous influences, it’s not beholden to any of them. Gets gratuitous after 11 minutes, but not enough to ruin for me. Track 05 — No fair. I’m a sucker for Afro-Cuban anything. I can’t say anything worthwhile, but if something like this comes on, I’m stopping on that channel. Wife and I used to go out on Saturday’s once or twice a month and becoming home very late, right when WBUR in Boston would have their Latin show on. It was usually the best part of those nights (hell, I had to drive!). Track 06 — Sounds soundtrackie. I struggle to get my ears around this stuff (but keep trying — my inner Bourdain dictates that I do so). If this is pop music of the region, I love it. But wouldn’t choose it over actual Jazz. I’ve been too restricted by the western scale to fully appreciate this stuff, but recognize it as MY issue, not the music’s. Track 07 — I like a blowout as much as the next guy, but I”m not hearing interaction here. Saxophonist is just over-wailing and not listening to what the others are doing around him. Very close to swiping left on this one. Yeah, buh-bye. Like Yoko playing saxophone. Track 08 — I like the guitar, but really wish the band were more supportive. Reminds me of that Albert Collins record with Cray and Johnny Copeland — the band just has that 80s compressed honky-tonk sound. Throw the nice fat bass from track one behind this, maybe a nice Michael Carvin backbeat, and this would KILL. Is that two or three guitarists? Track 09 — Believe that would be Sonny Blount. Damned if I can name the track. Supersonic Jazz the album? Swings like hell, as does nearly all Sun Ra of the period. Appropriate nod to Ellington’s voicings, as always. If I’m right on the album, that’d be James Scales on alto. That bari sounds more like Davis than Patrick to me in the first part of the tune. Track 10 — I dig it once the band comes in, but didn’t like that electronic keyboard in the entrance. Still can’t give you the name. This isn’t the Arkestra itself, I don’t think. That brass in the beginning reminds me of one of the guys in the Murray Octet. Not Gilmore, but someone who has certainly given their ears to his work (as all should). I’ll honor this as a solid cover. Track 11 — Ginger Spice!!!! Not the version I’m familiar with, but still a great tune! Man, that James Carter solo on the Coward Of The County version. WOW! This doesn’t feel like Ginger on drums. Not feeling this gel between the instruments. Seems almost like a “play-along”. And there’s that damned electric bass. I know what it is — sounds like the drummers are listening to a click track. There is almost no way for this rhythm to NOT change tempo over this course of time. Track 12 — This a little Fela tribute? Maybe Ibrahim Electric? Always wanted to put together a band focused on music from this area/genre. About 8 years ago, a local musican did exactly that, and I knew nothing about it until I saw them (with another bari player!). Well, damn, that certainly has Fela’s feel on the tenor, but the sound of the recording seems too modern. Seems a bit to constrained to be Fela’s actual band. Bitch of a cover, though. Digging the hell out of that trumpet. Sounds like Bowie at times. Wait a minute, that’s GOT to be Fela. Okay, vocals… yes. Good Christ… I need fresh air. Had to go look it up. No Agreement from this. Track 13 — Has that ABB feel. I’m going to guess Government Mule in the first 30 seconds. Unless it’’s one of those late 70s ABB recordings, I’m going to stick with that guess. Track 14 — Oh look at you sneaking in there. Track 15 — That guitar sure sounds like Duane Allman. I love this kind of stuff (in the right mood) but never delved into learning about it like I did the Jazz stuff. This feel is one of the things I most enjoyed about seeing The Blue Man Group. It was all this acid rock instrumental stuff underneath the humor and PVC percussion. Seems like you moved a bit outside of your typical BFT boundaries for this one. I'm kind of glad you did. Feels like I'll be going back to this one, again, when time allows. After scanning comments, I see I botched my Sun Ra albums, once again, got Bowie without realizing it (not hard to do), and am consistent -- I just neither like nor get Braxton.
  5. BFT 191

    Finally squeezed in a listen. A LOT I don't know in this one. I have the feeling some of the stuff that didn't resonate will get a second listen, though. Track 01 — Diggin’ the hell out of this! Has that Morphine vibe in the beginning, then adds in a Jazztet feel over the top. F*** yeah! Must have! Love that bone-over-bass. Track 02 — Ah! I know this! I believe this was in a BFT awhile back. Track B1 from this. I remember when I first heard this, because it was the only time I had heard this player on clarinet (as opposed to bass clari). Track 03 — Any guesses I would make on this era would be purely that, so I won’t. Cooks, but doesn’t maintain my interest (not about the quality, more about my predjudice against music of the era). Track 04 — I’m not right, but I keep hearing Sleeping Bee on the melody. I’ll say it’s a Harold Arlen composiition and that’s what’s throwing me (gotta save face somehow). No idea the player. Track 05 — Odd like the first one, but doesn’t resonate quite as much for me. I like it, but a tier lower. Someone likes Lester Bowie (not a bad thing). Wait… I know that guitarist. In the early days of mp3s, he put a bunch of his stuff online that he’d recorded for people to DL (complete with jewel case covers). It’s Charlie Hunter, I’m sure of it. No idea who the horn players are, but this one works, even if on a lower level than track 01. Track 06 — Man. Another odd one, and I love it. Has that vibe of a Dirty Harry movie, but with way more taste. Comping has that Herbie flavor, but is not so insistent as HH. Actually, more of an Andrew Hill vibe. Ah! Yes! Track 3 from this. I think this is one of the better recordings of the saxophonist. Track 07 — Despite my anti-clarinet stance, I really like this. I haven’t a clue who it is. Track 08 — That is a LOT of brass. Early on, it reminded me of Charles Tolliver’s Brass Company, but definitely not that. A little clean and orchestrated for my tastes, but I do like it. I mean, I’m a sucker for three, and a little flowery doesn’t scare me off. I do really want a surprise bari solo to come in an get pissed off, though (think John Surman). Ooo… that sounds like hope around 3:05! Gah! A polite alto was NOT what I was looking for. Maybe Mike DeRubbo? Don’t like the direction the drums just took. They had set a nice feel, but now we’re going all Steely Dan with a Varitone. Track 09 — This one just isn’t resonating. I was waiting for it to go somewhere, but it’s just going to a place that isn’t making my ears happy. Harold Mabern could hit those chords all day long and make me happy. This, to me, sounds like three guys trying to play like that, but not listening to one another. Track 10 — Like this feel a LOT. Really got that Coltrane feel. In fact, that bass line sounds like they copped it from The Drum Thing. Wait… they didn’t cop it — there’s the melody. Weird. NEVER heard this covered! Richie Beirach? This is weird. I’m in… but I’m not sure if I’m staying. Track 11 — Weird, but it works. Has the feel of Bass Drum Bone, but the bass clari/clari mix is intriguing. Not entirely sold, but very intrigued. Track 12 — I liked some of this sort of thing when I was younger (Michael Hedges), and still do, to a point, but don’t think I’d ever sit down and spin this. Actually don’t care for that piano at all. I’m not sure where this is going, and I’m not sure it knows, either (which is actually working for it). I like the trumpet, but again, don’t care for what happened rhythmically when the piano came in. Could this be Kenny Wheeler? Don’t think so, but something about that sweeping arc into the upper register makes me think it could be. Overall, I’m not sure how I feel about it. Track 13 — Not sure where I am on this. First thought is that I don’t really like the alto. Almost sounds like Arthur Blythe at some points, but doesn’t seem to have his fire. Takes a turn for the weird when the bari comes in. Not sure where I’m at on this. It’s a bit chaotic, but seems to work… almost. Nods to Monk, but I’m guessing an “original” tribute. Maybe one of Fred Ho’s projects? Nay. Doesn’t sound like Fred to me. Could be Alex Harding, but I don’t think so. Nope. Not enough in-the-blues for Alex. I’d bet this player likes Alex a whole lot, though. Thanks for a spin through unfamiliar territory with a few recognizable sign posts! Later (REALLY wish they wouldn't combine the responses) Damnit! After reading, i was going to guess Giuffre on track 7, but convinced myself it was because of some false relationship in my mind. I will never learn.
  6. BFT 190 Link and Discussion

    By the math in his original comments, the alto player would be 100 years old.
  7. BFT 190 Link and Discussion

    Track 01 - Watermelon Man, but by whom? Really hate that electric bass (sorry, Tim). Not quite buying the trumpet player. Well, they’re consitent — not buying the tenor player, either. My ears want George Adams, but instead, they’re getting the practice room. Track 02 - I love the song, and I’m pretty sure you can’t do a bad version of it. This one is not, however, one of my favorites. Across the board, just feels to busy. Is that a C-Melody saxophone? Something recognizeable about the way he’s kind of cutting off the notes. Incredible facility on the saxophone, but again, I almost want a little less. Could be Red Holloway, but I don’t think so. Track 03 - There we go. Paul Gonsalves. THAT’s how you play that shit. BAD MF! But playing Sister Sadie? Hmmm… second tenor? I recognzize the hell out of him, but can’t quite cull the name. Okay, this is some mixed superband, isn’t it. That first trumpet sure sounds like Clark Terry to my ear, but the second guy is unfamiliar. Could be Louis Belson on drums. Weird. Track 04 - Things SURELY Ain’t What They Used To Be. Got that Concord Jazz sound. Thinking it could be Norris Turney on alto. Drummer needs to get high. Or maybe it’s the bass player… something between them isn’t clicking. Could be George Mraz. Don’t know for sure who any of them are. Track 05 - No doubt I should know the tune, but I do not. I must be in a mood, because this is another rhythm section I’m just not diggin’. Feel reminds me (and I know this is chronologically backward) of the rhythm section on David Lee Roth’s cover of Just A Gigolo/I Ain’t Got Nobody. I like the trumpet, but not sure who it is. If that’s not Gator, somebody owes him royalties and an apology. Yeah, just not digging this pianist a shred. No clue on the ‘bone. Ah, but I do detect a needle. Track 06 - Don’t know what that fat MF is, but I love it. Not sure of the tenor — somebody I’m less familiar with. Okay, so that was a tuba, then. Narrows it down, a bit, but it’s not one of the two guys I can name. Track 07 - This is the best rhythm section, yet. This just works on all levels. Elements of Clifford Jordan (not him) in the first tenor. Second guy is pinging hard, but I’m not able to put a face or name to the ping. They predate the math guys, and it shows. Nothing particularly new happening here, but it’s HAPPENING. Aaaaah… space. Thank you, piano man. The bass on this track is absolutely the glue. Realized I wasn’t all that conscious of the bass, but it was right there enveloping me. This one is a keeper, for sure. Piano player might be a shade younger than the tenors. That first tenor could be Teddy Edwards. Second guy has a touch of J-Griff in his approach (NOT him). Clearly the younger of the two players (strangled altissimo). No clue on the drummer. This is the class fo the test, thus far. Track 08 - 80s recording? Pablo or Concord? That bass, those drums… man… it’s ugly. The music works, but the sound is attrocious. I am not familiar with the trombonist. I usually don’t double up, but sure sounds like Red Holloway to me. Not sure on the pianist. Oscar Peterson seems too obvious a guess, but that’s what I’m hearing. Man… that bass sound is just awful. Maybe Alan Dawson on drums. Track 09 - Little Sunflower. There goes my first guess. I was thinking it was going to be Tete Motolieu with George Coleman. It is not that. Another song difficult to do badly. Ooo… those chords… could this be Harold Mabern? The right hand seems a bit flowery for Harold. Track 10 - Know the song, can’t give you the title. Goddamnit. That tenor has me leaning to a well I’ve been to twice, and I just don’t think you’d do that to us (first guy). Second guy has a Zoot quality to the tone, but he’s to slick. To big tenors duking it out, can’t be a bad thing. I know that second guy, but I’m not going to be able to deliver on the name. Like Getz and Zoot had a mildly angry child. Aaah… more space — thank you, piano man. Maybe Hank Jones? Guy in the left channel isn’t Jasper Thilo? Shit. Just had the title, but now it’s gone. Track 11 - Sketchy live recording, but a great feel. Tin Tin Deo. Could be Sonny Criss on alto. Yes, I’m doulbing down on the Criss guess. I was thinking maybe an LA date with Horace Tapscott, but I’m leaning Hampton Hawes on piano. Other guys could be anybody — getting no read. Couldn’t take it and did a little sleuthing. It’s this. Track 12 - Well You Needn’t. This approach/tempo isn’t really scoring for me. It’s NOT Art Pepper, but I sure want it to be. Not sure who the alto player is, but I’m going to guess Mel Lewis on drums because of that cymbal choice at the end of the alto solo. Weird bass guess — Jamil Nasir. Track 13 - I don’t believe this guy’s math. No idea who this is. It works, though. Track 14 - Easy Living. Breathy as hell. Someone I’m less familiar with, but have heard. Playing the hell out of this. Whomever it is, he’s influenced the hell out of Ricky Ford. Almost sounds like Lockjaw with the triplets removed. Definitely a later recording of an older guy (why it works). I’ll kick myself when this gets revealed for sure. Man, a good listen. I think it got better as it went on. That last track is absolutely killin'!
  8. BFT 189 link and discussion

    Track 1 — The Visitors! Earl and Carl Grubbs. Title track from this. Ken Eisen introduced me to this when Carl released kind of a return album about 20 years back. I can’t say I love the brothers Grubb, but I certainly do take to the feel of this music. They made the most of their family(ish) connections. To my ear, this is where Kamasi is coming from. Track 2 - Bert Myrick. This was in a BFT awhile back and blew my socks off. Found the album digitally and snagged it. The whole album doesn’t have what this track does, but it’s good. This track is transcendant! Track 2, Scorpio’s Child, from this. Track 3 - I’ll be wrong, but that sure sounds like a Frank Zappa band. Anton Lavay? A bit on the poppy side for my tastes, but it grooves like a sonovabitch. Track 4 - Vocalist doesn’t sell me, but that ‘bone sure does. I like the song (and it’s super familiar for some reason). Seems like a non-technique guy like Dick Griffin, but it’s not him. Love the drumming on this. In fact, love everything about the rhythm section. Track 5 - Too much reverb to be Khan Jamal, which was my first thought. Not Bryan Carrott. I’m stumped. It’s got a good groove, in spite of the ECM sound. Track 6 - Some powerful oboe. I know the oboe players tend not to like the “Jazz” oboe players. I like oboe doublers for the same reason I like flute doublers — they tend to get a bigger sound out of the instrument than those who focus on that instrument. I’m not blown away by the oboe work, but I do like the sound and the blend of the instruments/voices. Sounds like a 70s soul jazz tenor player based on the lines (somebody like Harold Alexender, but more polish). And I’m a sucker for Rhodes. Track 7 - Airegin, a la…??? Sounds like it could be Eric Alexander, but a bit beefier tone (a little less like George Coleman). There’s the Coleman-isms. I’ll double down and say Eric. This is flat burnin’. Could be Farnsworth, though it sounds less like Billy Higgins than Joe usually does. But that level of facilty, burn and polish on tenor has to be Alexander. I’ll say it’s from this (a little sleuthing once I committed to Eric). For my money, Eric Alexander has it ALL over Potter/Turner/Whomever. Track 8 - Song is reminiscent of Emily, but clearly not that. I like the arrangement — a very Gil Evans vibe. I know that tenor, but I’m sucking wind. It’s a nice track. I want to find something to push me away from it because I can’t peg the tenor, but this is excellent. Track 9 - Somebody is making a very strong tribute to Art Blakey. I have a sneaking suspicion… nay… I retract that. Art Blakey is making a very strong tribute to Art Blakey, as well he should. Clearly a later, live Messengers date. Sure sounds like Woody’s trumpet to me. Trying to place the piano. Some voicings like Harold Mabern, but not him. Not John Hicks. Onaje Alan Gumbs? That’s GOTTA be Carter Jefferson. Just enough Wayne Shorter, but something personal and crying in that tone (unlike the later clones). Carter always sounded like he was just on the Harold Vick side of Wayne Shorter, and I like that. BEASTLY drum solo! Welp, egg all OVER my face for missing Khan Jamal. I need to listen on better speakers (keep saying it, but not doing it.).
  9. Blindfold Test 188 - link and discussion

    I understand and respect that, but any input truly is encouraged. Hell, I'm wrong at least as often as I'm right, but I know if I post my thoughts, it will generate discussion within the ranks (at least from the test creator). Sometimes, it's worth it just to hear the story of what led a person to choose a particular track.
  10. Blindfold Test 188 - link and discussion

    Old story, really. Same reason Jazz airborne radio has gone the way of the Edsel. But nobody seems to see how their actions affect the whole. I'm sure there's a bunch of people on the forum unaware that this thread even exists (and, to be fair, it's about the only thread I have time for these days, so, I get it).
  11. Blindfold Test 188 - link and discussion

    Well, finally got around to making time (mostly at work). Surprised how much of this was new to my ears (Alzheimer's?). Track 1 - 70s mid-size band. Not Dee Dee, but in that vein. Doug Carn? Could almost be Dee Dee, but voice seems a bit lower. Track 2 - AH-ha! LOVE this! Track 2 from this. Absolutely love this record. Track 3 - I should have a better idea of who this is. Sounds like a doubler playing tenor. Mwata? Electric bass, that drummer is pinging. Maybe Reggie Nicholson? Rollins influence on the tenor, but can't decide if I like him or not. Love when it goes into the "island" feel about 4:10. Track 4 - Trying to do this at work... not my best decision (need some tunes to keep me sane and trust this test presenter in that regard). Bopish theme, but not really picking up on the voices. Not sure on the trumpet. That's Mr. Gilmore's tenor voice. Not sure of the others. Busy drums -- not the stuff I'm familiar with from JG. Track 5 - Thought this was going to be a slam dunk of Kahil but now I don't feel that way at all. Could be, but not the slam dunk I was expecting. Oooh... Not familiar enough with Alex Harding's bass clarinet work, but I'm thinking that's what this is from KE'Z's band with AH. I like it, though. Track 6 - Closing track from this. Never fully loved this, but always listen to it. This is one of the tracks that speak less to me on this. Track 7 - Reminds me of a disc I recently played for you, but it's not that. Similar feel, though the drummer is not so unpredictable. Not sure where I am on this. Kind of like the odd, Tristanoish feel of some of the piano lines in the left hand, but not sold on the drummer. Track 8 - Not sure on this. A bit more inside than I expect from this presenter. Almost a Grady Tate feel to the drums and almost an Oscar Peterson feel to the piano. Track 09 - Central Park West. Not sure I’m into the version. Really can’t place who this is, and clearly, I should know. Sounds like maybe a hair after the hey day of this pocket of the genre. Not Carl Grubbs, but someone similar. I can tell you all the people the pianist isn’t. Getting kind of an Airto vibe from the percussion. Track 10 - Dear Lord. Took me awhile, but pretty sure it’s Marylin Crispell. Either Cyrille or Paul Motian on drums. I’m going to feel like an idiot, but that bow sure sounds like Reggie Workman. Still not sure I’m sold on this version, but I like that it’s their own. (Are you listening, Kenny Garrett!?!??!) Track 11 - Gotta be Ray Brown. I need this in my life. Track 12 - Weird. I like it. Don’t dare guess. Track 13 - I like the composition, but what in the name of hypercompression is with that sound!?!? Track 14 - I can only assume this is Jack Bruce.
  12. Sign Up For a Blindfold Test in 2020

    July, please.
  13. Means I should probably give it a second chance -- I would not challenge your ears. Ouch! Missing Wardell! *SHAME* on me.
  14. 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!
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. BFT 184: THE REVEAL

    It's a book & CD set (jazz play-along). Each track has a duplicate minus Blake.
  20. 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!
  21. 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.
  22. 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.
  23. The head to B. Harper's "Capra Black" - crazy!!

    Call of the Wild and Peaceful Heart is, I believe, written in 10/4
  24. 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.