tkeith

90% of this was right in the happy zone. Track 01 - I’ll never not think of the Scottish kid in a college music class, please read with the appropriate accent: “When Dean Hage was here, he talked about how his wife always cries when she hears Amazing Grace on the bagpipes. I cry too, but it’s not ‘cause I like ‘em.” This was very cool. No idea who it is. Track 02 - Makin’ Whoopee, sure sounds like Fathead. A little sleuthing shows me nothing, but those triplets surrounding the note have me feeling pretty confident that it’s David. Could certainly be Ray on piano. Track 03 - Someone to Watch Over Me, but not sure whose eyes they are. Pleasant enough, not sure I’d spin it on the regular. Track 04 - I’ve got this under my skin in the first 30 seconds. I wouldn’t think of doing this song this way, but it certainly works. Sounds like an upright piano to me. That could be a clue, but alas, it is not (for me). Track 05 - Interesting. There was something decidedly Monkish about the previous cut, and here is Misterioso, no? A neat crossover. No clue who we are dealing with. Also, are they just blending Misterioso with another tune? (and/or just borrowing the theme) Track 06 - This whole song went by without my realizing it as I was looking at printer inks. On second play, I know why. First, electric bass. Second, just doesn’t feel like it goes anywhere. Too obtrusive for background music, but doesn’t really grab my attention for listening. Track 07 - No idea, but I like. Harmony is similar to My Heart Belongs To Daddy and something else, but my brain is not cooperating. I know that tenor. Perhaps Harold Land? I really want to hear the percussion cut loose, otherwise, completely digging this. Track 08 - If I *don’t* have this, I should. Tin Tin Deo, but who? Marimba that could be Bobby. I don’t think this is Dizzy, but I’ll wait for the solo to commit to that idea. Hmm… not Bobby. Difficult to ID tenor with the bad sound, but the lines could certainly be Getz. Could be Dizzy, but can’t tell from this. Track 09 - Busy arrangement. Maybe Teddy Edwards on tenor? I think so. Trombone doesn’t quite fit in with what the rhythm section is doing, or vice versa. Alto doesn’t work for me. Seems like a blues guy playing jazz. Worth it for the tenor, but otherwise kind of misses for me. Track 10 - No idea, but this growler swings his ass off. Feel over technique — I’ll take that all day long. Track 11 - I’ll get none of these people, I can only say who it’s not. But I’ll take an extra helping of this. Track 12 - So, definitely Wayne. Sounds like Andrew Hill to me on piano, but less so in the solo (so maybe it’s just that Blue Note thing). Combing through my Shorter collection, I’m not finding it. So, either obscure Wayne as leader or as a sideman getting the spotlight. Track 13 - The Very Thought of You. A mellow-toned tenor… not one I’m overly familiar with. Nothing ground-breaking, but quite enjoyable. Love the piano. Something almost Buck Hill-ish about the tenor, but think this player might be a notch or two on the plus side of Buck (pretty good neighborhood!). Descending pattern at about 4:20 seems VERY identifying, but I can’t pull out a name. Track 14 - On A Clear Day I can see Eddie Harris’ house. Not Eddie, but a very thin toned… sounds like an alto. I think I’d enjoy this more if it wasn’t recorded on a Fisher-Price sound board. Chops to spare. No guesses. Track 15 - Sounds like the bands that did the MMO series way back. Very enjoyable cut. Not sure on the singer. Track 16 - Reminds me of an Ellington tune (from youth), but can’t say what it is. Again, enjoying it thoroughly. So basically, ID’d next-to-nothing, but enjoyed the ride.

Oh, MB can play, he just can't make me care.

Did this test just before the board went down. Now that it's back, I decided to do something I never do and started reading the other posts, simply because my reaction to this was what it was. Seems my reaction is a partial outlier (Felser got to my neighborhood after a few tunes), but after I read MJZEE's post, I decided to just post my original content. Apologies in advance for being a curmudgeon. Well, part of the idea behind a BFT is to hear music you don't ordinarily listen to. This was definitely that. As a kid, Wednesdays school let out at noon for teacher workshop days (which, as an adult, I would come to realize was NOT a positive thing, but rather typically a complete waste of time that everybody hated -- prep time would have been far more valuable, but I digress), so I would go to my grandparent's until my mother got out of work. She'd have on WHOM, "Beautiful music from the top of Mt. Washington," was what they billed it as. It was Muzak. She had taste, including a fairly decent record collection (Basie, Ellington, Lockjaw, Stan Kenton, Illinois Jacquet) and I remember asking her, "Do you like this?" "It's pretty," was her non-committal response. While I don't wish to kick anyones taste, that's what this BFT conjured in my memory. It was not a highlight of my youth. With age, I'm trying to park some of my negativity. I keep channeling the words of saxophonist Matt Langley, "We [Jazz guys] make up about 2% of the listening population, do we have to argue about it?" He had a point, but I still can't stand Michael Brecker. So, my lack of deep comments is an attempt to strand some of my negative reactions in the parking lot. Track 01 - Nothing really here for me, no idea what I'm listening to, but it's too clean, to the point of not holding my interest. Track 02 - There was a time I wanted a lyricon in the 80s. Had a recording of Tom Scott playing it, and thought it was neat. I was 12. By age 13, I'd sold the record and lost interest in the idea. This doesn't rekindle it (and I assume this is EWI, the digital equivalent). Track 03 - I was hopeful this was going to be Sonny Fortune. It may be a poorly recorded Cecil McBee on bass. The tune sounds very familiar, but with the solos, I got nothin'. Wondering if it's someone I don't know covering a tune I somewhat know. I don't mind the trumpet player, but can only offer a list of who it is not. Not Fortune. Perhaps a Grubbs brother? Track 04 - I want this to be a semi-hip cover of Do You Know The Way To San Jose. Sadly, it is not. This is the track that really brought me back to Wednesday afternoons. Track 05 - I want to like this, but it's crossing too many eras, and I'd prefer any of them to the mix. Maybe Shorty Rogers? Track 06 - Not an era that appeals to me. I've developed a respect for it (as I have with even certain rock music, because it's its own thing and NONE of it is *easy*), but can't listen to it for long. Track 07 - Ditto. Track 08 - There's a lot I don't gel with here. West coastie feel, with strings on top, and an absence of the way I hear swing. Okay as film music, but I can't sit here and just listen (though I did, twice, albeit unhappily). Track 09 - Song actually sounds very familiar, but I just can't get to this. Track 10 - No. I can't fit into my leisure suite anymore. Could be Gato from the period I don't get to. Track 11 - Kind of Mangione-esque, but I prefer Chuck. Track 12 - Could be Jan Garbarek and/or Gary Burton. Or maybe Mathias Lupri. Track 13 - Not my bag, but might be my pick of the BFT. Okay, three minutes in I'm just frustrated. It doesn't GO anywhere. Track 14 - I recall this song from somewhere, perhaps THIS is the Grubbs brothers track? Nope. Shades of Joe Henderson on a nothing day. Too much going on, yet nothing at all. Alright, that sure sounds like Freddie, but too busy being Freddie. This is going to be people I like just trying to bug me, I just know it. This is a bad porn soundtrack. Welp, hopefully I contained some of it, but there just wasn't much in this test for me.

Alrighty! We've filled the roster for 2023. I'll create a thread for 2024 toward's Labor Day and we can start over! 🤪

Just in case, sent you a private message, Joe.

Don Cherry Chenrezig from Brown Rice.

Claiming July b/c I'm traveling in late September. Still have that opening in September if anybody knows a potential host.

Oh, THAT explains why I loved the band.

Not getting caught off guard this month, damn it! Track 01 - This one did not start well for me. I recognized Lush Life immediately, but my mind was pre-programmed to think bari sax. It was near the end of the intro when I realized it's a bassoon. I only know a handful of folks who even play that instrument (all are no longer with us, I've just realized). Points for something different, but not my favorite version of the tune. Track 02 - A Child is Born. A worthy time to mention Thad Jones was an incredible musician who doesn't get nearly enough credit. This is not Thad, but a very nice version, nonetheless. Underwhelmed by the arrangement, but you can't really hurt a great tune. Track 03 - Obviously Nuke. Song is... gah! I recognize it from a radio show that used to air in Maine where this *strange* cat would play songs from the Hot 100 by decade for the corresponding week. I forget the name, but the version it conjurs was this horrid vocal dripping with schmaltzy strings. Much prefer this version. Is there ANY tune Rollins didn't know? Wynton Kelly on piano? Gotta be Max, doesn't it? That brushwork. Track 04 - The sound of this recording is a special brand of brutal. Sure sounds like Gene Ammons. Yeah, I'll commit, now way that's not Gene. Track 05 - A Flower Is A Lovesome Thing. The piano works for me, but the alto is a struggle. There are intonation issues and a case of the scoopsies. Piano lost me a bit during the solo. Playing behind the alto on the head, I was thinking Randy Weston was a possibility, but not once we got to the solo. These have to be regional players. Track 06 - Where? Or When? The sexophone. That's Carlos, for sure. For years I couldn't get to this guy (partly becuase it was "old", partly because I had the Black Lion stuff). Then I heard A Tribute to Cannonball. That did it. Once I got past the "old" mindset, I realized just what a beast this guy was. Track 07 - I think people forget how beautiful Dolphy tone really was. Even tender. Every time I slide these out of the jacket I get to re-experience the discovery of Eric. Such a unique voice, and on three instruments. Another guy we haven't caught up to. Track 08 - Now THIS is an arrangement. Not fully sold on the vocalist, but that's a common occurrence. Teases Eckstine at points, but doesn't seem to have his power (but, as it goes on, heck, could be him). Big vocal flourish at the end, but wish he'd get out of the way of that band. Track 09 - Solitude. A nod to Duke just shy of the one minute mark, but this isn't Duke. Ah, there we go. Fatha Hines. One of the first people of that era I got into, mostly because of a record where someone says, mid-solo, "Fatha Hines, you dirty old man!" 13-year-old me just thought that was great. My mind says that was Jimmy Rushing saying it, but I could be out to lunch on that. #whateverworks Track 10 - Wasn't sure at first, but once we get into the tempo section, that's Ornette. I think Haden was a clue. This has to be a personal recording (of the musicians). It's plenty raw and plenty real, and the sound quality is awful (seemingly a trait of a lot of really terrific music). Is there an Ellington thread underlying this BFT? I swear Charlie just quoted I Got It Bad. Track 11 - Nice. I was hoping to hear guitar with this when the trumpet first came in. Something brought me instantly to Shepp's Mariamar, which has to be one of my favorite obscure records. Brushes. Man, love this. Waiting on some bass, but I'm not going to get it. Those BRUSHES! My brain was saying Bill Dixon, but I went to sleuth and realized my mind had the wrong guy (face wasn't right), then I realized, no, Wadada. I don't have this and I need to fix that. Can't get enough of those brushes! Not Motian, but at least as expressive. Guitarist isn't blowing me away, but really doesn't need to. He's (or she's) doing just what's needed. Love this. Don't break my spirit and tell me it's Metheny (can't be; he can surprise me, but not like this). This is some serious music (serious as your life). Track 12 - I'm in at the bass. Recorded down a hallway? Theme is terrific music with awful sound! What do I win!? This is also some serious shit. Maybe a tick below the last cut, but the drummer is putting nice color in around the bass. The bass is just, ideal. I want to say Smiley Winters on drums. A lot of names come to mind for the bass, but none of them are right. Only thing I know for sure is it's not Tim Webb, but he can certainly get there. I know the trumpet player, but only as one of the avant garde guys who plays with a lot of guys in my collection. I can't get to a name. This is not background music. Another score, Randy! Nick DiGeronimo keeps popping into my mind as the bassist, but that's wrong. AH! Mid-solo, it hits me! Dyani! Of course! So, not Smiley, but I can't get a name. Likely one of those bands of those fringe guys. I can never remember the names and don't want to butcher them. One ends in ezi (and I'm not proud of that being the ping, but that's the liffe of a dyslexic). Track 13 - Some making an impression. Something about the attack of the notes is Clarke Terry adjacent. Booker Ervin, for sure. So, that could be Han Bennink on drums. Has that busy, snappy thing he does going on. Ah! A clue! (as Spenser would say). That's Horace Parlan, for sure. Grant Green. Okay, it's from this. Shame on me for suggesting Bennink here. Track 14 - Torn. First thought was Wadada, again, but something is pushing me toward Lester. Might be too recent to be Lester, though. Drummer is definitely teasing that remix thing. It works, but it always confuses me when a drummer works to sound like a machine. Not sure on the organ, but he's not shy. This works, but it's not subtle. Track 15 - Instantly I'm pushed to Sun Ra. Combination of the sound, the activity, and the friggin' swing! Oh yeah, no doubt once the keys come in strong. I don't think that's Pat Patrick. I know it's one of the early ones -- is it Angels and Demons? Always forget who the other bari player is on that. Track 16 - Oh, no you didn't. College radio station had this. Bought the CD when I was living in Pittsburgh. This tune is an absolute bitch. An exercise in simplicity, but man, does it groove. And I mean the tune. The version is in its own universe (even among their versions), but the tune just plays itself. This was in my Fake Book I got when I was like 13, but I didn't hear it until I got to college and worked at the radio station (8 years later -- don't judge me). Lotta ground covered here. Some of the transitions were a bit jarring, but nothing that made me want to throw the speaker. Speaking of which, if you're stuck on the computer too much and/or mobile a lot, the Walla Sound bluetooth speaker is pretty impressive. Let's be clear, it's not Sonos, but at $50, I don't think you're going to find anything close. Just my 2¢. Thanks for the ear candy, Randy! Had to re-listen to Odwalla immediately. Man! Malachi and Famoudou lay that down with such AUTHORITY! Bad MFs!

Ready to go.

Listened earlier in the month while doing drywall work. Finally getting around to putting thoughts on paper (with second listen). Track 01 - Grooveyard, but not a version I'm familiar with. Pleasant enough, but I'm missing Harold Land. Great tune. Track 02 - There's a certain quality here reminding me of Rolf, one of my favorite muppets. A Mose Allison feel, but doesn't sound like him (though I'm certainly no expert on Mose). I appreciate the piano work more than the vocals. Perhaps it's just the phones, but are there two pianos here? Track 03 - Tune seems to be borrowing from a Clifford Brown tune, if I'm not mistaken. Guessing mid-50s from the recording. I like this, but not sure how often I'd go back to it. Track 04 - Full brass band, which leaves me with about two options from my collection, and it's neither, so I'm just going to listen. Track 05 - Love the song (and it's familiar-ish). Sax player has that modernish think I can't quite get to. Reasonably sure it's a tenor, but also has a James Spaulding-ish quality to it (but to my ear lacks his story). Fun ride. Track 06 - Recognize the song, but can't put the title to it. That Getz CD was one of the first available when our household migrated to CDs. Could be Anthony Ortega on alto. This is the keeper for me thus far. Damn if I can remember the song name, though. Track 07 - I'm getting pulled in multiple directions. I think like is winning, though. This is strange. Like Tristano-meets-Randy Weston-meets-Flora Purim-meets-... I dunno... middle eastern/north African flavor? Hell, I'm in. Track 08 - Another winner. Do I recognize the tune, or am I recognizing adjacent works? (Footprints, Teo) Tenor loses me. Same issue I had with track 5. It's too much from the practice room, and the feel of this tune is NOT that. That 2-4 feel sets this up with a really unique feel. Guitarist gets closer than the tenor did, for sure. Trumpet caps it off with the top solo of the three. Damned tenor players. Curious what this is -- really like the feel of the tune. Track 09 - Bittersweet. Certainly narrows down the options. With the bass lead, I have to assume it's a Sam Jones record. Only other versions I know are Eastern Rebellion and Glenn Wilson/Rory Stuart (which I believe I first heard in a BFT). Just printed charts for this, today (you hear that, Tim!?). Doesn't sound like Sam. No idea. Track 10 - Nice trio work, but nothing that stands out for me to recognize. Familiar-ish tune, again. Track 11 - I like this, but the recording frustrates me (headphones). It's nearly complete stereo separation, which is NOT they way a human hears music. Musicianship is excellent. Reminds me of Surman, but I don't think it's him. And then, around 1:40, we go all practice room. Just don't. Track 12 - Somebody gonna get knifed. Getting a distinct Gato vibe, but that sure sounds like an alto. Track 13 - I'm just not hearing this going anywhere. Track 14 - This one is weird. Actually really like the band, but can't get past the, uh... vocals. These seems like an animated soundtrack. Vibes are doing something distinctly in the groove, and the quirky arrangement is perfect. But that vocal. Eesh. Think this is basically all new to me. I have three piles: Like - Keep - No thanks. The small pile is that last one.

Explains why I didn't nail the Stewart track -- always gravitated towards the live side on that. Higgins is masterful on those live cuts. Looking at the cover, maybe this is different than what I have (cover sure is). #MoreMoneyLeavingMyWallet Shocked that was Billy Hart on the last track. Engineer needs to find a new gig, because that dude is THE loudest drummer I've ever seen. Also, I'm a fan, so to miss him bugs me. #blamesEngineerToSaveFace

Also happened across some interesting tapes on Archive from a guy name David W. Niven (NOT the actor). Interwebs IDs him as being from Jersey, but that accent is decidedly New England.

Yeah, I saw that, but didn't care for the shipping. Four of them were available from one seller on eBay, no shipping charges, returns accepted. Total: $27

All 5 headed my way.

Damn. I'll have to go on an RS listening binge. I was thinking the same thing when I read his comments. That was, indeed, how I made the leap. Appreciate those recs. I shall get busy.

Well, Dan -- a number of hits, a few misses, and almost no pegs. Apologies for taking three weeks to get to this, month got away, but the reasons are good (music!). I need to preface, on a streak of shit sleep, so advance apologies for anything particularly stupid that is said by way of observation. Track 01 - This is some happy music. Not sure what, but I'm here for it. I mean, obvious guess would be Tito. I have nothing pushing me there besides genre and timbales, but this is what his band sounded like when I saw it. Kind of hoping Mario Rivera's tenor will show up. *Could* be Steve Turre, so I'm not giving up on Tito. Alas, no Mario tenor. I find this music fun to play, fun to listen to, and absolutely miserable to read. Hmmm... that sure sounds like Hilton Ruiz on piano. Track 02 - Love that drum intro. I mean, no new ground being broken here, but I'm FINE with that. This has what I like. Those drums are a bit heavy, but it works. In fact, I think it's a compliment. I saw Ralph Peterson lay this down with Benny Golson's Blakey tribute band one night. Second set. It was WAY different than the first. When RP went here, the guy next to me said, "Here we go! They must gone out and got somethin' between sets." These are good vibes. Trumpet is familiar if underwhelming. Maybe Randy Brecker? Don't know the alto, but it's a real voice. The way I WANT Kenny Garrett to play. I'll take a full plate of this with all the sides. Mmh. I *do* loathe that ending, though. Track 03 - Sounds like someone a bit smitten. I'm not sure I'm fully buying the story (compared to the last cut). Can't put my finger on this. Tenor reminds me of Hadley Caliman later in life, but less bite. There's nothing *wrong* here, but there's something about those double-time runs... the rhythm is just a tick off. It's pleasant enough, but not sure I'd give it multiple spins. Seems to suffer from that edge that a lot of the Concord stuff suffers from, to my ear. Track 04 - Sounds like Bergonzi to me. I saw him interviewed where he said he never listens to his own stuff after it's recorded. I think he should. This just doesn't sound personal to me. I'll take the last cut, despite my criticisms. Tenor here is clearly a really solid musician (has that Eric Alexander thing going on, but the sound seems more like Bergonzi). Again, nothing wrong with it, just not hitting the right spots for me. Strangled altissimo on cue, not a single note out of place. I wish there was one. Doesn't feel like these guys are communicating. Drums lack dynamics and in general, almost sounds like horn was recorded separate from rhythm section (like, different takes). Track 05 - 10 seconds in, this has all the last cut was missing. I mean, I'm not saying this is Kind of Blue, but it feels a lot more real than the last track. Love the arrangement. Losing me as it goes on. A lot of affectation, but I'm not really feeling the message. Actually reminds me of Bleeding Gums Murphy on the Simpsons. A talented player who at times seems to lack taste (boy, I'm a bastard today, huh?). A reasonable listen, but preferred the ensemble portions to the improv. Track 06 - Early on, I was hoping we'd gotten an Abdullah Ibrahim cut. I'm kind of diggin' the 2nd-line Bebop. Tenor could be Ralph Bowen. I give full props for taking a different approach to this tune. Not blown away by any of the soloists, but not turned off, either. Alto player is a little too affected. Has that thing that make me nuts about both Garrett and Rudresh. Forget the name and just play, man. Seems like since they've gone to the "swing" feel, they've lost what they built in this tune. This could be anybody playing anything. Unfortunate, because they had really developed something. Liking the bass. Drum break was appropriately short. All around, just feels a little clean to me. Track 07 - That's Robert Stewart. No question. I think this might be the record I DON'T have. Certainly post-Coltrane with a huge debt to be paid, but he's got a voice. It's him. I'm sure most of you have seen that NPR article where they tried to quantify what we appreciate about "swing". I don't think it CAN be quantified. This has it. It's definitely derivitive, but they also mean it. I'm hedging my bets... this could be the earlier record with Revelations (doesn't get quite as much play in my rotation), but I'm thinking it's newer. Uh -- at the end the influence of his teacher (Pharoah) comes out. Without listening to decide, I'm thinking it might be from The Force (one I have) or Heaven and Earth (which I DON'T have). Track 08 - Sounds like Ernie Andrews on vocals, which is always a win. So, this must be the Gene entry. Sounds like Teddy Edwards on tenor, later. Track 09 - Full Concord. So much so that I'm guessing that's George Mraz. It's a fun ride. Thinking maybe Red Holloway or... maybe Scott Hamilton. Another, not-new-ground-but-they-mean-it entry. It's got that sound (again, guessing Concord) that fights me, but the band is cookin'. Sometimes that hard shuffle is a miss for me, but every time it's been on this BFT, it's been a win. Track 10 - Tickle-Toe. Aw, yeah. The real guys. Sure sounds like Zoot, and pretty sure I heard Buddy Tate on the head. Second tenor is definitely Buddy. Okay, that's Al Cohn. Sleuthing tells me that Mr. Hamilton fooled me on the Zoot guess, which should make him proud. I freely admit to having nowhere near enough sample of Scott Hamilton's output. Educate me, dudes -- what do I NEED? McKenna. Like to think I'd have gotten him without the sleuth job. So I'm assuming it's this. Track 11 - Something is missing here. Everything feels a tick off, rhythmically. Could be Bobby Shew on flugelhorn. Doesn't sound like they're listening to one another. Flugel is... it's a tick behind -- the rhythm is lagging. If not for that, I might say David Weiss on flugelhorn, but... I dunno, this just isn't clicking. Digging the bass. That drum kit is over-mic'd; no subtlety to it at all. Something almost sounds like Billy Higgins in the snare, but nothing else about it. Maybe Farnsworth? Mark Ferber? I like the harmony of the tune, but the rhythm just misses, and it seems to be everybody. Always an education when I take your BFTs.

April goes to Big Al. July or September are available. I'll take the whichever one doesn't go.

March is yours, sir!

Just throwing this out there because there were some unfamiliar names (to me) in this thread: we still currently have openings for March, April, July and September for 2023. I'll take one of those, but I'd prefer to let others have first choice on the specifics. If you're curious or know someone who may be, please reach out.

Still looking for presenters for March, April, July and September. I'll take one of these, but I'm trying to leave this open for people with harder schedules to manage. If you know someone who doesn't currently participate but you think would be a good fit, please reach out to them.

Well one thing has been consistently confirmed (with ONE exception in the history of my participation in the BFT) -- I do NOT care for Michael Brecker. Just don't hear him, and don't get him. Klemmer is a 50-50 mix for me when I hear him. Dad's influence steered me away from him (and probably my own purchases in that musical neighborhood -- Tom Scott, et all). Would love some MUST HAVE recommendations from you and Jim.

I got scared and had to go back an listen. I stand by it. I think the CTI-ism of track 4 hid the tone of the sax player (that's my excuse and I'm doubling down on it!). I have a TON of T, and he's always so BOLD, no matter the setting. Here, he's rather subdued, and I blame the engineer.

I wanted to say JM on Maria, but I was too much of a wimp. I have one compilation of his, and I wasn't sure enough to commit. #DamnIt

Apologies for the playing ordeal you guys are going through -- I'm using Firefox and it opens right up (tried on two other computers). Fesler, for sure on the group listen! We had a good time with it, though we realized it's not the most riveting watch.