tkeith

Alright, I've been working this hard with absolutely NO thanks to tech support but HUGE thanks to Tim (webbcity). I'm going to go ahead and share the link here with this disclaimer: site is under construction. As of right now, I can see all the tracks in Firefox, Chrome, and on Safari on my phone. I canNOT see them in Safari on my computer, and Dan was unable to see them in either Edge or Chrome. So, welcome to beta-testing, friends. Feel free to give it a shot and let me know if it works or not. Probably best to do so via private message so as not to derail this thread. https://thomkeith.net/blindfold-tests/current-tests/

Please - be patient. My site is down and files were lost. They are attempting to reload a back from Feb 7 so they can troubleshoot. I have no idea how long this is going to take or what the end result would be. I can do sweet f***-all about it, and I'm at the mercy of a call center in India.

If anybody is listening online, it may have been unavailable for a bit. My site did not auto-renew (JustHost is really great a screwing up the renewal). I upgraded services, so I cannot guarantee that there will not be hiccups. If there are, please message me directly through the forum, and I'll get it sorted ASAP.

Great idea. But I challenge you to NOT alienate Felser with the compensation pick!

Sounds like a terrible idea. I'll drive.

Hey, Percy Faith has gotten me a happy ending more than once.

Track 12 - Can't be what it sounds like to me. "Nothing you can do can tear me away from my guy." Jug-adjacent tenor, with what sounds like a lesser rhythm section. Is this one of your Percy Faith inclusions? I assume you meant to type Percy France as I wouldn't know where to begin in my extensive Percy Faith section of the stacks. This song was a major hit for Nat Cole 12 years before "My Guy". Saw that and fixed it, but you must've got there before I did. I think my fingers got ahead of my brain on that one -- it happens.

I gave this an early spin b/c I'll be away this week. The Venn diagram of overlap between Dan and I fits nicely, the other parts, less so. So, it's a Dan test. Track 01 - I'm taken back to watching the Pink Panther cartoons as a kid. Not necessarily the pink panther himself, but one of the Inspector cartoons. Mongo? Got a good feel (though that pianist doesn't do it for me). Scat is hit or miss for me, and this is a bit of both. I don't think it's Hendricks, but there's no denying the influence. Doesn't quite seem up to his level of technique, but still mostly works. Not the heaviest ride, but about perfect for cooking. Track 02 - Now THAT is some bad sound. Hard enough to say much in four bars, but to replace solos with that format is something that should be reserved for very particular settings. Fortunately, no one here has a helluva lot to say to my ear. Trumpet saves it a bit with a good solo. The second fours section still doesn't excite me, but it's more musical than the first. Maybe Dale Fielder on bari? Seems older than that. No idea on the other sax players, though the alto is the one who catches my ear the most. Track 03 - Welp, there's the Concord sound. Sure feels like Mraz on bass. Not sure on the horns, but this is definitely the neighborhood that puts me in contact with you. #TeamFelser Oh joy! The unemployment stick. Not sure who the snake charmer is, but what he's playing does NOT fit the feel. No thanks. Trumpet settles into the pocket nicely, and is familiar. The horns behind the solo are the highlight of this. A lot of flash to that trumpet, but I don't think it's Freddie. Could be Randy Brecker, but seems a bit more versed in the music than Randy. Track 04 - How to play two standards without paying royalties. No tune in this genre is complete without a quote of Stranger In Paradise. Has a bit of that Gator edge, but not Gator. Obviously, I much like this tenor. Not getting a huge impression from the rhythm section, but neither are they in the way. Okay, this is fun. This dude is a little nuts and I like it. Nitpicky, but I didn't need the Coltrane entry into the trade-off section. Otherwise works. I assume this is someone I know but not super well. Track 05 - I like the feel, though it's not the players I want it to be. These are "newer" guys (because I'm a fossil). I was hoping for John Hicks, but it's not. It all works, and it's enjoyable. I should know this tune name, but I don't. Sounds like one of those Wynton-adjacent guys from the 80s (the guys who had a touch of soul and got no credit like Blanchard, Marlon Jordan or the like. It kind of unravels in the fours section. They don't lose it, I just don't hear the music in it. And can we NOT throw in cutesy quotes on the piano, please? This is from the era where I sort of went to sleep on "new" music, because it wasn't that. Track 06 - And this, is NOT that. Nothing outrageous, just swings its ass off. Sure has that Percy Heath feel in the bass. Unsure on the bari -- only certainty is who it isn't. This is the keeper track thus far. Track 07 - Bland shuffle and a grating organ. Nope. Trombone sells it, but he's got to work extra hard. Absolutely recoil from this drummer/organist. Track 08 - Now's The Time. Sounds like Buddy Tate (sound), but execution isn't quite there. Older Buddy? Can't think of another shouter who cooks like that. Okay, yeah, no question, that's Buddy. Subtlety of a firetruck! Gotta love it -- such a beast! Seems crazy, but I have no clue on the other horns. It works, but I can't get a read on either of them. What am I listening to? Who cares? Give me more Buddy! Track 09 - One of my favorite Parker tunes, which I know is weird. It's just so damned infectious. Junior Cook on tenor. Has that muse sound. Not Woody. Bill Hardman? Okay. I was leaning towards Al Foster and curiosity got the best of me and it's right here on my laptop. It's side B, track 2 from this. Track 10 - Almost said Hot House, but no, it's Groovin' High. Never can keep the bop titles straight. Don't recognize the alto, but he's for real. Maybe not out of that top tier, but this guy is a bad MF. At this point, I'd just put my horn away -- I'll sit in another night. Not sure the rest of the band is the same era. Sound is horrid, but something about that piano just doesn't sit right with me. Very busy, but something isn't quite in sync to me. I know him, and it's a common reaction, which is where the recognition is coming from. Not Hilton Ruiz, but a close neighborhood. Oh, Jesus. This cat is NUTS! (alto) Who IS this!? Completely unique player, but completely respectful to what he's playing. Suggests a guy from the hay-day. So, who is slightly off Main St., but can play like that. Bill Barron's neighborhood, if you know what I mean. Track 11 - Okay, so we're heading down a particular path, I see. Actually prefer this tune around this tempo. Johnny Griffin did everythink you can do at breakneck tempo on this and it should be put to bed at that tempo. This works just fine. Musical, swings, and is tasteful. Strange sound. Piano seems disconnected from the bass (soundwise), but bass is crystal clear. To be fair, listening on the TV surround via bluetooth, but still, bass seems to be far more clear than the piano. The only thing I know for certain is, I don't know who the pianist is. A lot to enjoy here. Track 12 - Can't be what it sounds like to me. "Nothing you can do can tear me away from my guy." Jug-adjacent tenor, with what sounds like a lesser rhythm section. Is this one of your Percy France inclusions? Track 13 - Tune is obvious. Players less so. As it wraps, I'm still in that spot. I can only guarantee who it is not. A lot of stuff I don't know and a couple of real killing tracks. Can't bitch about that.

Wouldn't be Billie Harris?

Seems more than fair.

Alright, I blocked both months out to split the test. I think that makes sense given the response, and since we STILL have a remaining open slot (September) after I claimed July, I don't feel like we're pushing anyone off.

You know, I get it, but given some of the stuff that goes completely in the opposite direction in the tests of others, I don't think you need to tone any of it down. We're allowed varied tastes, and participation is a choice. But that's my 2¢. Sngry2024

I'm accustomed to doing my thing, but realize it couldn't hurt to have a blurb about process. Stream-of-onsciience comments on the first listen, no peaking. If I listen more than once, I'll say so. Track 01 - It's too late, she's gone too far, she's lost the sun... she's come undone. I'm sure my chronology is backwards, but I can't unhear it. Gets serious mileage out of the most basic formula. No idea what I'm listening to, but no complaints. Track 02 - Not an Elvin project, but the owe him a tip of the cap. Absolutely nothing wrong with it musically, but the tenor is living precisely in the neighborhood that turns me off these days. All the note are right, but I'm not getting the story. Amazing technician, but I liken him to reliever Joe "Fight Club" Kelly. Yeah, you had the hardest fastball in the majors for several years, but if you took a little off, you were much more effective. The tenor player has put many hours into the craft to get to a certain point (focusing on technique). Now walk away from the practice room, forget all that, and tell me a story. PLEASE! Keys were there but didn't make a huge impression. Trumpet saves this for me. Same chops as the tenor, but far more musical to my ear. Drummer is busy doing the Elvin thing, but it works. Maybe Blade? Kiermayer? Wait, a band where the guitarist has the least ego? Actually my favorite of the group, which is rare. I sniff a Martino flavor here. So, clearly the tenor's date, as s/he/s hogging the solo time. I'd rather have heard more of the trumpet and guitar. Again, everything is 'correct', I just don't care. Good tune, though! Track 03 - Maybe Khan Jamal. I like the ragtag feel of the rhythm section, and the odd vibes sound. Not entirely in love with the alto (or, at all). Kind of a James Spaulding sound with a Braxton-ish approach to rhythm, which is always a turn off for me. It's got an honest feel, though. Brutish tenor continues that trend. Kind of feel like this is guys just off my radar. It's close, but missing a bit too much of the blues to warm my belly. Though, I confess to being an old fart in such matters. Bari was my preferred solo, then tenor, but the quirky nature of the tune prevents me from completely getting there. Track 04 - I've just realized the majority of this song passed without impression. No idea who it is, but it's in that contemporary category that just doesn't grab my attention. Nothing wrong with it, just didn't make me care. Track 05 - I mean, 3/4, poppy late-60s/early-70s hippie feel -- I'm *SO* in. Track 06 - These last two are right in the wheelhouse of Felser that I was anticipating. There's nothing to NOT like here. Tune, vamp, feel, it's all here. Punchy alto. Not a first-tier player, but it's honest and the player is working hard. I'll take it. If the tenor on the second track had done this, I'd have been all in. This player is a notch beneath #2 technically, but this solo just works. Musical, logical, interesting, and I feel a story. Carter Jefferson's neighborhood, but not his house. Pianist sounds like a poor man's Harold Mabern, which is to say, I like him (or her). Track 07 - Not out, but slightly off the beaten path. Like a cross between Bill Barron and a later Mingus project. Alright, I was going to say NOT Don Pullen, but as that's clearly George Adams, we'll go with Don Pullen and, despite the fact that I'm having trouble hearing the bass, I'll say it's a later Mingus project. I haven't dug out Changes One & Two in years, but it could be from that. Track 08 - Uhm, yes please. More of this, all the time. Had to rewind after the melody. This is a Tolliver tune, is it not? Explains why I'm instantly in love with it, if so. So, that could be Hutch. This is not the version I'm acquainted with. I think the version I know is from one of those Arista/Freedome albums with the pink cover. Paper Man or The Ringer. LOVE the drums on this. That could well be Jimmy Hopps. Sure sounds like Charles. Very in your kitchen (in a good way). LOVE that guy. SWAGGER! But with purpose. Joe, with a purpose of his own. MUCH swagger here. That piano sound suggests this is perhaps a Strata-East date. Track 09 - Hang on, I have to tie my roller skates. It's a pleasant enough feel, but nothing that makes it stand out. I'd probably have more love for it without the vocals. Rock-side band crossing over? Track 10 - Love right off the bat. Really a lot to love about this feel. Open chords and relentless, energetic drums. Tenor doesn't go freak out, instead locking into that vibe, maybe a little shy of what's been set up, but it works. I respect the struggle of the tenor. Like the technique is just a tick off from what he's hearing and he's (or she's) fighting for it. Personally, I appreciate the struggle. If track 2 had this energy, it would have been right in the wheelhouse. This is honest, real and gets its point across for me. Feel like I should probably know the tenor. Track 11 - Guessing this is the same band as one of the other tracks... track 5 or track 9. There's attitude in her voice, and I love it. This is what I WANTED pop radio to be when I was a kid. A little Purdie Shuffle never hurt anyone. Track 12 - Cerebral piano went in a different direction than I expected. A bit too far in the funk direction for my preference, but certainly works. Reminds me of that Roy Haynes band with George Adams, but seems a bit more toward the commercial side. Okay, now I'm messing with myself. I was going to comment that the keys reminded me of a Nat Adderley recording I had with Onaje Allan Gumbs. I'm thinking this may actually be that record. A good listen, if a bit less life-altering than past Felser BFTs.

Mark me down for one, too, please. I like the idea of a time limit for the track. The longer tracks can be saved for one's own BFT.

So if March is a composite BFT of all members, that leaves February, July and September (though I will take one of those three; I'll either take last available or first unfilled slot that comes up). Any takers?

Well, let me put it this way, if someone else wants to take control of compiling it, I'll support the idea, but there are enough challenges dealing with ONE test creator at a time.

Neat idea but a nightmare to coordinate.

Listening again with the volume up (computer to TV sound system via bluetooth and I didn't have the computer up earlier b/c I'm a moron). Keee-RIST! Of COURSE it's Buddy Tate!

Successfully, I would argue.

I was not, I didn't realize it was not ID'd (too focused on the first two tracks). It's from Sonny Rollins' album Nucleus on Milestone. Not sure the title of the track, but no doubt that's what it is.

Track 01 - I gotta go! A for-real gunner here. This is not tributary, this is the real thing. I know a lot of guys it isn't, and they're all from a happy neighborhood (Buddy Tate, Budd Johnson). There's almost a James Clay vibe here. Mello sound here. Could be flugelhorn, but sounds like a really mellow trumpet. I think this is a younger player than the tenor, b/c there seems to be more focus on technique. Setting is throwing me, and the sound isn't as warm as I'd expect, but could be Art Farmer. Probably not. Even though the solo was a tad showy, I liked it. Don't place the alto, but an admirable solo. Reminds me of Phil Woods before declared himself pope. BURNIN' trumpet solo. It's not Roy, but he likes Roy, and that's a good thing. Not a fan of the organist. Chopping the notes off and it does NOT have the desired effect. Also, hate the sound he's getting. VERY grating (as in I'm a few seconds short of putting my foot through the speaker). Just, no. Track 02 - Recognize that trumpet player, but I'm not getting it. Warm, fat sound. Has balls, too, but without being in your face about it. That tenor sure has moments of a Buddy Tate vibe, but doesn't seem to have the full power of his sound (or could be the speakers). This is certainly someone I know, but I can't commit on Buddy. Right neighborhood, though. Very KC/Texas sound, but some modern-ish aggressive tendencies. I could listen to this guy all night and smile the whole time. That woman HURT this guy, and he's not happy about it. Is this the same recording as first cut? Players don't really sound the same to me, but the sound quality does. In fact, that could be the slightly more showy trumpet from the first cut. I like the guy, but I feel like he's a little hung up on who/what he is. Like Faddis but with a better tone, which suggests someone of that older generation (as in, showy or not, he means it). You know... better sound, showy, fair sized ego... *COULD* actually be later Roy. Yeah, this HAS to be the same band/recording. LOVE this alto player. Has no time for BS. I *want* it to be Phil Woods forgetting he's Phil Woods for a night, b/c that's about what I'm hearing. There's nothing wrong with a single moment in this solo. This solo is far more palatable. Partly because the shrillness of the organ has been scaled back. Ooof... just went into the toggle and, congratulations! You've lost me. This sounds like it could have been an epic recording if the organist had any taste. The too-much factor here is akin to the jam session vocalist that feels the need to behave like they're on Broadway. Track 03 - No mistaking that guy. I've always wanted to like this record more than I do, and yet I seem to get back to it with fond ears when I hear it one cut at a time. Forget the name of the tune. The cover of Are You Ready was always a hit with me. When I first bought this in the early 80s, I was too young to appreciate the ballad work. When I reaquired it... WOW! Short and to the point, sir. Well done. Interested to find out what the all-star session was on the first two tracks. DAMN IT! I almost said Mingus but figured I was sure to be wrong because of the setting!

Late to the party. I'm certain I should have done better on this than I did, but so be it. Track 01 - Like the groove (bass clari?), but less so the drumming and the unemployment stick. Oh wait... that's a dark unemployment stick, isn't it. It's close, but I'm going to pass on this one. Sounds a bit too commercial leaning to be Douglas Ewart, so I'll not guess. Track 02 - Perdido. You know I'm a sucker for this kind of stuff. Burly tenor, but not entirely sure who. VERY familiar. Fat, round trumpet. Has me thinking Clark Terry based on the sound. Yeah, there's nothing I don't like about this. Tone could almost be Getz, but I really like this player more than him. And what I'm about to say will now make no sense, but maybe Budd Johnson? Track 03 - Well, no mistaking Jackie, obviously. Recognize the trumpet, but I'm having an off day. I'm certain I have this, but can't peg it. Track 04 - First thought (during head) was Frank Lowe, which is wrong. Has that Chicago sound. Ari Brown is certainly a possibility. LOVE that bass. I'm going with younger Ari. So, maybe Harrison Bankhead? Very much in my happy zone. Track 05 - Not sure what this is. Pretty heady. Track 06 - Is that NOT you on bass? Sounds like Erica Lindsey's tenor to me. If I'm right about that, it could be Baikida Carroll. But no, there's something Freddie-ish about that trumpet. Not sure it's someone I'm familiar with. I like this, but it's toward the academic end of my tolerance. Love the rhythm section, though. Track 07 - Something in the choice of lines has me hearing Ron Carter on the lead (solo) bass. Cello, no? Not Diedre Murray. This works, though. Every bit of it. Track 08 - This sounds instantly familiar. Phil Ranelin? Love the feel of this rhythm section, particularly the drummer. Not sold on the tenor. Budget Elvin on drums? Love the bass. If I have this, it's not in the regular rotation. Track 09 - Song is conjuriing numerous titles that it is not. Almost an Ibrahim feel to the piano. Nice song, no idea who it is. Track 10 - No idea who. Interesting, but not riveting. Track 11 - In from the get go. Busy drums, but it works. No idea. Track 12 - Now this is SUPER familiar. Guessing it's something you laid on me, but I've been derelict in my listening duties. So, we've got Purdy Purdie drums, what sounds like Bennie Maupin on bass clari, a very aggressive, post-Coltrane tenor, and it all seems to work quite well. I feel like I'm watching a tail in the rearview mirror, perhaps an early 70s Lincoln, who doesn't seem to care that I know he's following me. but I can't say who it might be (in the car OR on the recording).

Fair point, Jim.

Track 01 - No idea what this is, but I absolutely love it. Very clean recording -- you reallly hear each instrument on its own as well as the collective mix. All sorts of varied percussion, and the guitarist does not sound like a "jazz" guy to me, and I think that's helpful, here, because he doesn't fall into guitar-player-patterns. This all feels very organic. Reminds me a touch of Embryo's record with Mal Waldron. I don't feel like I've heard this before, and I like that. The feel of the band reminds me a bit of the John Handy Quintet. Track 02 - It's different, but I don't care for the "math-y" feel of the rhythm. It's not bad, just strikes me as... poppy? Inorganic, I guess is a better way to put. This the music a lot of musicians love to play because it challenges their mind, but I don't hear the gut, and that's what I'm looking for. This doesn't put me off, it just doesn't reach me. I'm at 2:16 and think a fade would be wonderful. This goes on quite long for what it is, what it's doing. I just want to hear Noel Fielding say, "What are you on about!?" I made it, but I'm not happy about it. Track 03 - Initial feel I thought Larry Young. I want it to be Joe Henderson w/Larry Young. It is not that. I think it's honest, but it's not quite Big League. Tenor play is not convincing me. It could almost be Sam Rivers on an off day, but I'm just not hearing the ferocity. Then, I did. Then I thought I heard Elvin. But none of this is right. Not Elvin, but really wants to be, but doesn't have the poly-rhythms going. Could be Sam Rivers. I thought for sure that was Woody Shaw. Weird guess -- could this be a Japanese band? I know Hino can do Woody Shaw as well as anybody, but there's something in the rhythm of the tenor, I just don't think it's someone I know. Track 04 - Mid-to-late 50s sound. Straight ahead, but I'm not getting a clear peg on anybody. Tenor is WAY hot in the mix. Could be young Knepper on trombone, but I don't think these are guys I know. Really like the pianist and the snappy drums (the breaks notwithstanding). Track 05 - Could well be the band from track 1. Pianist likes Mal Waldron (and who could blame 'em!). Thinking somebody like Hal Galper that kind bridges that cerebral feel with an abstract flavor of the blues. Track 06 - Almost sounds like Jameel Moondoc, but I'm quite able to find that *thing* he does. This is an interesting track. It's got a rawness I like (I assume it's live, or at least direct-to-disc), but it doesn't quite do what I'm thinking it will. I like it, but it's confounding at the same time. These guys are weird... in a good way. Track 07 - Has a vaguely Zappa feel. It doesn't offend me, but I've kind of lost the thread 5 minutes in. It's a good feel, but it doesn't seem to go anywhere. Track 08 - Clean soprano sound, full and not squealy. Very European feel to it. If I could get that sound on the unemployment stick, I'd probably play it, too. It's not Lacy, but it's that brand of timbre. Could be John Tchicai, but there are rns that don't hit me that way. Likewise, could be Curtis Clark, but it's not quite right. I like this, but I'd hit a limit on it fairly quickly, I think. Very musical interplay, here. And crystal clear sound. Track 09 - Bass clari is such a unique sound. This just turned in an odd direction. I like it, but in an odd way. And now it's a tenor, not the bass clari. The sound is odd. The bass clari and tenor have been very upfront, not a lot of reverb. The background is very muffled, with seemingly lots of reverb. Tenor sounds a bit brutish for the environment. Hits a bit like later Illinois Jacquet, in that sort of brutish vein. Almost has moments like it's Johnny Griffin, but the sound is wrong. Right ahead of 4:30 for instance. Could be later Johnny, but seems to have a harder edge than that. Seems like Johnny Grffin slowed down. That should give me an obvious name, but it doesn't. Certainly a beast of a player, though. Track 10 - Well, that's Oliver Lake. Can't say for sure if I have this. This just works. Not John Hicks. Could be Curtis Clark. Literally nothing about this misses for me. Bassist is killin'! I've liked a lot of this test, but nothing to this level. This is damned near a perfect cut. Track 11 - What's going on, here? At first, I thought someone was vocalizing over flute. Now it sounds like a wood flute. Is that an effects pedal or something else going on? Definitely a different vibe on this. Towards that European end of things, but not in anyway that puts me off. I feel like they're being honest and I'm buying it. At times, that flute sounds like a cello or viola. Track 12 - Very odd. I like it. Ellington adjacent. Maybe Danny Bank on bari? Or could be Mr. Blount's band. Love that heavy fall of the bass. Yeah, more of this, please. Track 13 - Wow! Levels on that last cut are WAY higher. Good thing it's a trio cut! Somebody out of that Barry Harris school. Could be Billy Higgins, defitely getting that gallop vibe. I don't think it's Billy, but that gallop is there. Maybe Farnsworth. Hmmm... maybe Alan Dawson, at that. Nice cut, nice tune. It's got the history, but it's a unique song. This might be my favorite test this year. [Come on, Tim, Felser! Whatdya got!?]

Attaboy.