tkeith

I'll leave names out, but someone in this BFT was performing live and a reference was made to DF, and all in the band were chuckling. Hey, if he's happy, great. But I'm not listening to it.

To be fair, DF is on a lot of good dates in that period (hence my Harper reference), but ugh... what happened to that guy? Have you seen his "Morning Coffee Jazz" stuff? Pretty sure it's Kenny G approved.

Not a bad guess, but no. Nope. Only DF in my collection is with Billy Harper. [some rules I just can't break]

Aside: Is it just me, or does the reply/quote feature on this forum royally suck? Okay, now to the comment from Felser, no sir, that's actually not it. Though, you have presented me with a Mal album not in my collection, so now I have to address that.

Maybe because they actually support art there?

Negative, sir. ID'd above as Thad Jones. Nope. ID'd above (and your guess on that track would apply nicely to this one ) It is not, but perhaps adjacent in terms of era. Indeed, Mal (he fools no one). Jim and Felser both ID'd Mal, but I don't believe the album has been pegged, yet. Fair to say Stanley's influence is prevalent, but not him. DING! DING! Nailed it! None of these people, though certainly in the right realm of players. Can I talk you into maybe stepping back? Trible and Tapscott are correct (ID'd above). It is not, but again, you're hunting in the right neighborhood.

Yes, ID'd above. Second who heard Shavers, but ID'd above. Correct on Dinah. Agree -- definite Trane influence, but a unique voice. We'll be here, sir! I think MF ought to be flattered by that. I doubt that. Yep. Correct, sir! I like the comp, but definitely his own avenue in that neighborhood... or is it? You are spot on with Mal. And with the monster bass player, but I wouldn't limit him to the 70s. I need to look into Powerhouse as this is the second time I've seen it referenced this week. I'm certain these players would be flattered by the comp to music of the 70s. Just outside the 70s, so, 70s. Your ears do not lie, though the pianist is still active. Kind of surprised by your reaction to the drummer. You might want to give it one more run, as he someone you know. I'm proud of you for making it 9! Ironically, the bass player sells this for me, but I like where your ear took you on the guitarist. The bashing drummer is very capable of that, but also very capable of a more tasteful approach. I think this one is going to surprise some people. I was hopeful this one would hit for you. A lot of names that I'm sure grace your shelves are in this band. And yes, the bass player. You will want this one. Did you feel anything Sheppish about this tenor player? (And I KNEW you be in on the tenor!) BAM!!!! BAM!!! You got it!

Ah. Okay. Hadn't heard that.

Not surprisingly, Jim, you're ears are spot on. Not sure what the Windows thing is you're referencing.

Ding! Ding! Second gimme falls. Correct, sir!

Negative. Not them -- ID'd by Ken Dryden. Love those guesses, but they are not correct. I think the player would feel good about this. Not Randy, but I think if you reframe what you're hearing, you'll be closer. You may hear it, but it's actually Rhodes. Love the bass solo. No, sir. One guitar, not Al. Ding! Ding! But love for some more specifics. Almost.

I'm happy with this information. But also not surprised.

Correct. One of the gimmes nailed. I will say up front, I'm hoping the hive mind can clear up the muddled personnel information. I'm positive of the IDs you made, but have the same questions about the rhythm section. FWIW, my source material was a digital version of the CB EmArcy box set.

Not the singer's record. Name drop moment: Blythe's former manager joined my fantasy baseball league this year. #TooCool

Song title correct. Blythe is correct, Stewart is not.

No promises, Bud. Heck, there may even be a Lou Merloni if I wasn't careful.

Okay, with apologies for the slight delay, here is Blindfold Test #216 for March. Nine songs, quite all over the place, so first, a word about my process. Throughout the year as something really grabs me, I'll make a list for what to include in the BFT. Before compiling, I search to make sure the songs haven't already appeared in a BFT* (*this is an imperfect science as it HAS happened several times, but I DO try). With apologies in advance to Jim, I promise man, I'm not trying to send you over the edge with the length of these tunes -- it's just the way it worked out. However, since Jim laid a Rusty Staub on me, I'm going to ask that you think of these tracks as a Juan Marichal or Luis Tiant outing, not this "opener" crap. Test can be found for listening or download here: http://thomkeith.net/index.php/blindfold-tests/ There is at least one "gimme" (probably 2), and at least one "is not possible" (probably 2).

Yes, go ahead (didn't even realize that had happened).

Thanks, Mike. I know Bill tries to space them by a calendar year whenever possible, so, my pinch-hitting performance notwithstanding, I'm going to do my level best to respect that.

I'm going to jump in as I don't have a month scheduled, yet. Seems Bill is quite under-the-weather, so I'm going to pinch hit on that side, for the moment, as well. Please allow me a day to pull this together.

I might as well stick with July, Bill, though in a pinch, I'm not opposed to taking a different open month based on need.

God I love reading Jim's reactions! I hear tell there may be a March opening.

Your self-assessment was correct -- I don't think I had one relevant guess. Enjoyed much of this test. A couple, not at all. Either way, all new material to me, which is a good thing. Track 01 - Thought I was on this at the outset. Turns out, I am not. Very peaceful, though. Don't hear this mix often, and it's nearly enough to get me past my disdain for the clarinet. Track 02 - Odd, Ran Blake sort of feel. Like if Ran Blake played Mingus' Jelly Roll. Enjoying it, though. No clue who it is. Track 03 - Sheesh. Speaking of, this really reminds me of the Clifford Jordan/Ran Blake split bill on Mapleshade. It's not that, but very much that feel. Very strong alto tone with a heavy nod to the bop language while being decidedly not that. Bassist sounds like John Lockwood at times, but I don't believe it is him. Track 04 - I know this -- it was prom night! I want to dislike this more than I do. She can sing, and there's something happening here, if only to spite me. So, it actually loses me a bit when she drops out. Just not a fan of that compressed, chorus-laden guitar style. That said, once I get past that, this is pretty danged good. Damnit, I think I like it. [Listening on the back porch taking advantage of a 59º day, and the neighbors do not agree. That just makes it better!] Track 05 - Not sure what the piano is so angsty about, because the bass/drums are laying down some beautiful sh*t. That said, it still works, though keys are harshing my buzz a bit. Once we get going, works really well, though. Oooo... happy tenor time when we get there. I'm liking the tenor. Not sure I'm hearing a unique voice, but it's close. There's a lot of those omnibook lines wokring in, but overall, very melodic, seemingly honest approach to what is being said. Very curious who this is. Modern recording because the stick hitting the cymbal is flat annoying (please stop mic'ing every damned inch of the kit!). This one also works, but the tenor seems to carry a large chunk of what makes it work. Seems to my ear to be a Chico Freeman-adjacent player. Track 06 - Sorry, but why. Nothing wrong with it, just has an air of 'who cares?' to me. Excellent musicians who aren't creating anything. Could be Kenny on trumpet, but more likely someone influenced by him. This is that period I just don't really access. It's not out, it's not in... it's not for me. Envious of the musicianship, for sure, but wish there was more being done with it. Track 07 - Not feeling this. Nothing wrong with it, but owning a bass clarinet is not a good enough reason to record with it. Not hearing a distinct voice, or if I am, not hearing one that maintains my interest. I assume this is a tenor player doubling. On tenor, I'd probably appreciate this more, but the bass clarinet does not hide short-comings well. Track 08 - Like the feel of the rhythm section, a lot. Not sure the tenor is rising to that mark. Been in a text convo while listening to this, and that's about what I can say. Stand by the first comments. Track 09 - First, pay royalties to Ellington for Take The Coltrane. Second, STOP MIC'ING EVERY SQUARE INCH OF THE DRUMS! Drums sound like sh*t! Really capable musicians, but I'm not hearing the music. I've listened to all of all tracks... until this one. Nothing about this is resonating and I want to punch the engineer in the face. I might have enjoyed the McCoy clone more, but that recording... FFS! Track 10 - Now THIS has my interest. Slight drop when the full trio comes in, but more a factor of how strong the bass opening is. Yeah, this track is a winner.

I have grounded myself for missing Frank Foster. Shame on me. Tune is definitely NOT Simone, though.

^^ No one-trick pony he. #SangryFTW