tkeith

General house keeping comment I've got the archive complete through 2017. With the new site setup, I've changed the instructions for naming files for the BFT. In short, if you follow the new instructions, uploading becomes a breeze and very little time is wasted (as opposed to what I'm going through building the archive). Please and thanks, take a look at the instructions here: https://www.organissimo.org/forum/topic/83336-how-to-setting-up-a-blindfold-test/

I think I was shutout, here. I know I'm in a bit of a funk today, but the first part of the test missed hard. After that I actually enjoyed listening to most of it, but more as background. It happens. Track 01 - First phrase had me kind of excited, but this head is a bit mathy for my taste. It's good, and they can play, but you really feel the energy kind of lag once the improv begins. Almost like they're not in the same room (to my ear). I'm sure I'm just being a curmudgeon, but it seems to lack dynamics. I like the tenor player's sound, but it's got that same thing going on. Crazy technique on both players, but I'm just not convinced they mean any of it. There's a guy who posts horns he's selling on FB, and he can play like this (and does so to demonstrate the horns), but after about three horn ads, you realize it's just a memorized series of patterns. It's impressive technique, but there's no story to it. As Henry Threadgill has said, "muscle memory can be a dangerous thing." I like the bass solo, but the drummer needs some decaf (let it breathe, MF!). Impressive mucisianship, but the track is a miss for me. Track 02 - Nope. Reminds me of Vijay Ayer's Fieldwork. It's interesting, but seems more busy than musical. Maybe I'm just old. 4:30 is all I could take. Track 03 - A thousand percent more to my liking. A touch of Pharoah in the tone. Right up until about the 2 minute mark when we go full-on into the practice room. I just don't understand why technical facility needs to translate as boring. Maybe I'm just old. It's a nice melody, and they clearly can play, I just wish they'd stayed with what the melody sets up for them. Sometimes I'm bothered that I don't get out to check out "new" stuff that much... this is why. Track 04 - This one hits better than the last -- I like the trend. Arrangement is interesting without getting in the way. There's a story here. My ears are telling me these are older (maybe over 50) players. So far, I don't know anybody for sure, but these are unique voices, particularly the alto. It stays within itself and remains musical throughout. Arco bass! What the hell happened to THAT technique!?! Everything about this one works, even the busy head. Track 05 - Really like this. Has a Cecil Bridgewater feel to it. Quirky and angular, but the story is here. Again, they're staying within what they setup, and it doesn't try to do to much; it doesn't have to. Track 06 - This didn't really hit me in any direction. It was pleasant enough, but about 5 minutes in, I realized I wasn't really listening. Nothing wrong with it, just didn't grab my attention. Track 07 - Another pleasant listen, but not really grabbing my full focus. That's a description, not a criticism. The last two tracks have been just about perfect for me to continue working on things. I'm enjoying them enough to focus on the task at hand, but not really connecting with the music. Track 08 - Happy Birthday (I'm going to murder you in your sleep). Meh. Just, why? Track 09 - That's Fathead. I could listen to him play ballads all day long. The story. It's here. Track 10 - A powerful tenor sound, and certainly a guy who has listen to Fathead. I don't care for the "squiggle" he's putting on notes for affect, but on the whole, I like this. There is thought, here. It's a modern guy, but not someone who just sheds their Brecker. And as soon as I type that, he starts ripping the altissimo lines I was critical of on an earlier cut. Still, this feels real to me. Not sure I'd buy it, but if I were seeing this live, I'd have no complaints. Track 11 - Gonna sound weird, but I know that count off. Huh... maybe not. I have something in my collection that starts like that, though. Track 12 - Didn't care for that beat right off the bat. Can't explain why. It just clashed for me. Trends a bit commercial for my taste. Reminds me a bit of some of what I've heard from our host. Tenor reminds me a bit of Sean Berry. Hmm... kinda has to be Alfredson, doesn't it? Nothing wrong, here, just not in my wheel house. My ear wants Fred Wesley to be playing trombone, but it's not to be. Track 13 - A-ha! THAT's Jim. This I've always loved. I think this may have been on a BFT at one point. I know it's on my HD in the car, and always makes me smile. This does all that it's supposed to. Wait... this is NOT that. I mean, it IS, but this is not the version I have. Now I don't know what it is. It's that song, though... can't for the life of me remember the title. Either way, this works completely. Track 14 - What? Ohio Players, right? I mean, obviously this is not them, but that's who did it iirc. Probably be fun if I were there when this happened, but this is just weird. Reminds me a bit of Material's Memory Serves. I might revisit this for another listen when I'm not in a funk. I got him this time, but I missed him hard (as in didn't care for it) last time. He did that r&b thing better than anyone for my money, but I don't always want to hear it. This, however... this hits.

I struggled with James for years. Then Tolliver's Impact record with the big band one me over. Later Spaulding is epic. When I realized he was basically a baby during those Blue Note sessions, I went back and listened differently. I really appreciate what he was doing then more now than when I first heard that stuff (like this).

Been a hot minute since I did this well on a BFT. Got lost in the middle, but a lot to like on the ends. Track 01 -- Freddie! Set closer from this. When I was in Junior High/High School, I used to occupy my time NOT meeting girls by making myself mixed tapes. This was on one of them. Much to like about this album, even if Mobley is a bit past prime. Track 02 -- I was just listening to this in the car the other day, and found myself liking it less than I used to. I have the deepest respect for Christlieb's mastery of the instrument, but I lose the thread of his story most of the time, and I'm not sure it's me. Marsh is Marsh, even when he's not full-Marsh. What an absolute monster. This album is nothing if not gratuitous, but it certainly does give a horn player food for thought. Not sure which track, but it's off this. Track 03 -- OOOOOhhh! Dennis! Miss him so badly. One of the world's truly good people. This is off Catechism, again, forget the tune. Dennis was a beautiful guy who, even in his absence, teaches me about friendship and being a better human. One of the people I actively miss. Track 04 -- Alright, I thought I spotted this one, but I did not. Sounds like a bunch of other things and it's none of them. So, I'm'a shut up and listen. Okay, (second listen), sometimes a song this structured doesn't fit for me, but this one certainly does. Even though it's very controlled (drummer must have been going nuts), this really works. I appreciate the raspy guitar sound (as opposed to the hyper-compressed, chorus-soaked Ben Monder-style sound. Every bit of this reminds me of something else, but nothing all at once. The flute/horn line is certainly from something I'm familiar with, but I can't peg it. An enjoyable excursion, both times. Track 05 -- This one is the first miss for me. The vocals remind me of what I didn't care for about 90s pop music. A bit whiny, a bit unhip hip-hoppy. Type of thing that might come on in a social setting and work, but for sitting and listening, it's a miss for me. Over-arranged and too... I'm not sure what. Alt-pop? Sort of like the Bjorkestra, but doesn't work as well for me. Huh... could maybe be the Bjorkestra. Sounds a bit clean to be Travis, but could be. Wish Tim were here to bounce this idea off of. Track 06 -- A vaguely familiar rendition of Tenderly. I like the bass solo and love the arrangement. The trumpet doesn't particularly hit me. Track 07 -- Albert. It's Angels, but damned if I know the source. I recall reading an interview with David Murray where he said of Albert, "I don't think I've every played one note that sounded like the guy." Sorry, David, but I cannot agree. Just acknowledge the influence for crissake. There are certainly worse comparisons. Track 08 -- At 15 seconds I'm in, in spite of the guitar effects. And then we go all Metallica. That tenor intrigues me enough that I want to hear more, though. Wait a second. I was just reading an interview with this guy -- that's James Brandon Lewis. I went to see a band like this (randomly associate crossover band) because the poster advertising the show listed JBL and Kurt Rosenwinkel. As there was no cover charge, I was intrigued, to say the least. When the band took the stage, no one looked remotely like either of those guys, and the music showed that. Sort of a grungy, angsty, jamband stuff like this. I lasted one song and left, with some strong words for the false advertising of the venue. There's nothing I don't love about Lewis. He should be getting the attention Kamasi gets, but it will never happen. So long as he keeps making music, I don't care. This track is all him to my ear. Track 09 -- And there's the boss. Not sure what they've done to Smitty's drums here, but this is difficult to listen to. Focus on Newk and it's all right, though. Isn't this the show where he broke his heel? It's the title track from this. That's better. [we all get fooled on occasion, bud] Model 241 Massey Ferguson. I am a nerd, but didn't know that until I searched for an image of the number.

With apologies -- I don't want to read the thread as I haven't had a chance to listen, yet. I forgot to include a download link, but that has been rectified. The link is directly above the player. Also, I've completed as far back as 2021 for the archived BFTs. Feel free to take a look and shoot me feedback via private message so as not to derail the thread.

My contribution became a pick when I just had my listening drive on shuffle one night. Crazy Ray always seems to catch my attention, but to my ear, there is something extra special in this cut. Ray Anderson Wishbone Suite: Part II - Wish For The Folks From Wishbone Ray Anderson - trombone, Mark Feldman - violin, Fumio Itibashi - piano, Mark Helias - bass, Dion Parson - drums, Don Alias - percussion Edit: Just a quick heads up, I've started to rebuild the archive (long, slow, tedious process). If you have a moment and can check it out, I'd appreciate any feedback (via private message so as not to derail the thread, please). If you're on the regular listening page, you can access via the menu (Blindfold Tests/Archive Blindfold Tests). So far, I've only done the first half of 2023 (click the 2023 button). Thanks in advance.

Not Roswell, but certainly descended from that school -- ID'd by JSngry as Ray Anderson. Not Charlie Burnham.

Amen, brother.

Yes. Your ears were not wrong.

Careful -- I WILL make this happen! Poor choice of words on my part. By no means knocking Roy. Similar to David Murray, they're going to go to that place at some point in each solo. I never tire of either guy doing his thing.

And for me, that sounds lovely. In response to my own cut, people seem to enjoy the frontline mix of trombone and violin. Had no idea what I was going to submit and just happened to be hanging and listening when this came on the shuffle mix. It was a no-brainer. While no one has actually pegged this, the correct player HAS been mentioned in the discussion (though without committal). @DrJ - can't stop laughing about the "make it stop" story. You've literally described all 25 years of my marriage. Sorry it missed. One thing this BFT has solidified (as if it hadn't been obvious), @felser, @Dan Gould and myself will never be having a listening hang. 🤣

So much for getting in early. @DrJ - Love the vamp. Singer's voice is nice -- mellow and warm. It's a good saxophone solo, but a little studied for my liking. They've got a good impersonation of Trane's trio going, here (and I don't mean that as a knock). And let's face it, I'm a sucker for a repetiive chord progression like this. Every time she starts sining, I want her to be Leena Concquest. That doesn't happen, but I really do like her voice, as well as the overall feel of this. I have no idea who I'm listening to. @Dan Gould - Weren't you just here!? Probably won't surprise you that I'm not onboard, here. At first, I wasn't sure it was a band and not synth because of the sound. Tight band, I'll give them that. I have a simple rule for saxophonists who want to be showy -- have something to say. I'm a hard pass on this one. Trumpet is more tasteful and far more to my liking, what I can hear of it over the wah-wah guitar. Can't say it's not good musicianship, it just clashes with my listening sensibility. No idea what I'm listening to. @JSngry - Aw, MAN! HERE WE GO! Song and player are obvious. I remember this from my grandmother's collection (her ears were pretty hip), but she had a lot of Illinois. This just BURNS. THIS is how you flex-and-strut with a horn. The story gives him license. #BadMF Literally never get tired of Roy's schtick -- almost to the point of a guilty pleasure. I know he's going to "shout" at some point, and I'm always waiting for it, but it NEVER lets me down. FIRE! Okay, so that's Papa Jo, as well. Not an ounce of bullshit to be found. @felser - Well, that didn't take long. Billy Harper fools no one. (He posteda great photo of his son and him playing saxophone together. Kid's got a black-and-gold alto, but BH is firing away on his old silver one that he seems to have had overhauled). When they dusted off this tune (so named for BH's Great Dane) for the cookers at the request of David Weiss, Billy's reaction was, "Really?" Not sure how to break this to him, but he doesn't write bad songs. This is from Capra Black, no? Has to be, because that's Elvin. Great pick. @mjzee - It's not Basie, but royalties are owed. Burly tenor, tastefully played. Kamuca? Maybe not. Definitely a working big band, as the band is treated like an instrument. Sound suggests 50s. It's not Maynard's band, but maybe adjacent? And like that, it's over. @Joe - Oooooooo. Sounds like Clark Terry on the head. I know that tenor. That's gotta be Tommy on piano, doesn't it? OH! That low 'bone! YES! Maybe Buster Cooper? Okay, Clark Terry, no question. OH! Now I have an idea -- that clarinet just revealed the tenor to me. That's gotta be Jimmy Hamilton. I have *one* Jimmy Hamilton record, somewhere (notwithstanding the Ellington and Clarinet Summit stuff). Mayhaps this is that. At the end, there's a Woodyard feel to that time, but seems too tame. I could get up and check, but this couch is pretty comfortable. [Later-- bathroom break] It's About Time. That's it. Surprised I didn't pick up on a Jimmy Jones -- that's kind of a BFT sweetspot for me. And Kudos to Mel for bluffing me into thinking Woodyard. @mikeweil - This reminds me of David Murray's Interboogieology (and it is of course not that). I don't want that vamp to change. Ah, but now I see why. Vocalist is for real. Though clearly has more effects on the vocals than are on that horn. Tenor solo, sadly, leaves me cold. Not a thing "wrong" with what's played, just doesn't hit me. Busy piano, maybe Hilton Ruiz? Singer is the high point of this for me. @Ken Dryden - Beginning to See The Light from a praise-and-worshiip setting? Don't know who I'm listening to, but I assume this IS, in fact, recorded in a church. This was a fun one! Edit: Went back to read and realized I missed a cut. @medjuck - with apologies. Of the bat, I was hoping for Ibrahim. Nope. Alto is a little to... slick for my taste. Love the vibe of the bass & drums. Piano is just sort of there, but I think that's okay in this setting -- let the rhythm do its thing. No idea who/what I'm listening to.

Fixed it @JSngry. Syntax error. 🫣

Okay, it seems to be working, now. Apparently, WordPress has its own special little caching system that overrides even your browser settings. I'm seeing the updated page steadily in all browsers. WordPress is dog shit, and people oughta be aware of it.

And, I spoke too soon. Now I'm only seeing #239. Jesus H. Tap-Dancing Christ, I hate WordPress!