[BFT 181 Answers]

The second half:

7. Metronome All Stars: "One O'Clock Jump" (from The Metronome All-Star Bands (RCA)
Harry James, Ziggy Elman, Cootie Williams (tp) Tommy Dorsey, J.C. Higginbotham (tb) Benny Goodman (cl) Toots Mondello, Benny Carter (as) Coleman Hawkins, Tex Beneke (ts) Count Basie (p) Charlie Christian (g) Artie Bernstein (b) Buddy Rich (d); January 16, 1941, NYC

8. The Allman Brothers Band with Roy Haynes: "Afro Blue" (from Jones Beach Theather, Wantagh, NY 6/27/06, ABB Instant Live)

Gregg Allman (org) Derek Trucks, Warren Hayes (g) Oteil Burbridge (b) Marc Quinones (perc) Roy Haynes (d); June 27, 2006, Wantagh, NY

9. Teddy Bunn: Jackson's Nook (Selective 78)
Pony Poindexter (as) Jerome Parsons (p) Teddy Bunn (g,vcl) Curtis Counce (b) Bryan Allen (d); 1949, LA
 

10. Dixieland Jug Blowers with Johnny Dodds: Memphis Shake (from Johnny Dodds: Blue Clarinet Stomp, RCA)
Johnny Dodds (cl) Lockwood Lewis (as,vcl) Clifford Hayes (vln) Cal Smith, Freddy Smith, Curtis Hayes (bj) Henry Clifford (jug) Earl McDonald (jug); December 11, 1926, Chicago
 

11. Eddie Costa - What's To Ya (from House of Blue Lights, Dot)
Eddie Costa (p) Wendell Marshall (b) Paul Motian (d); January 29 & February 2, 1959, NYC

12. Sonny Boy Williamson - I See a Man Downstairs (aka "One Way Out") (from Don't Send No Flowers, Charly)
Sonny Boy Williamson (vcl,hca) [aka Rice Miller (vcl,hca) ] acc by Joe Harriott (as) Alan Skidmore (ts) Brian Auger (org) Jimmy Page (g) Ricky Brown (b) Micky Waller (d); April, 1965, London

 

 

[BFT 181 Answers]

Thanks for listening and commenting. Many of the older recordings are available on many reissues; I have pictured the albums from which I got the tracks. Here's the first half:

1. Kenny Clarke and his 52nd Street Boys: Royal Roost (recorded for the French Swing label; from The Bebop Revolution on RCA)
Fats Navarro, Kenny Dorham (tp) Sonny Stitt (as) Ray Abrams (ts) Eddie De Verteuil (bar) Bud Powell (p) John Collins (g) Al Hall (b) Kenny Clarke (d); September 5, 1946, NYC

Dorham plays the first trumpet solo.

2. Dave Brubeck: - You'll Never Know (from Indian Summer, Telarc). March 8/9, 2007, NYC

3. Bradford/Gjerstad Quartet: and me, me and you (from Silver Cornet, Nessa)
Bobby Bradford (cnt) Frode Gjerstad (as) Ingebrigt Haker Flaten (b) Frank Rosaly (d); March 30, 2014, Baltimore, MD

The unusual title is the result of the three track titles forming a little poem:
    Silver Cornet tells   
    a story about you        
    and me, me and you        

4. New Orleans Feetwarmers: I've Found a New Baby (from Sidney Bechet: The Victor Sessions Master Takes 1932-43, RCA)
Tommy Ladnier (tp) Teddy Nixon (tb) Sidney Bechet (sop-1,cl-2) Hank Duncan (p) Ernest Wilson Myers (b,vcl) Morris Morand (d) September 15, 1932, NYC

5. Yusef Lateef: Koko's Tune (from Into Something, Prestige/New Jazz)
Yusef Lateef (ts) Herman Wright (b) Elvin Jones (d);December 29, 1961, Van Gelder Studios
 

6. Anthony Braxton: Composition 138A (Ballade) (from 19 [Solo] Compositions, 1988, New Albion); April 8, 1988, Cambridge, Mass.

 

 

[BFT 181 link and discussion]

 

42 minutes ago, Milestones said:

Isn't it time for the Reveal?

 

I posted about this, but it was combined with another post. I have been asked by the BFT administrator to wait until Friday, May 3 to post the reveal. I'm ready any time; unless I am told otherwise I'll post the selections tomorrow morning.

[BFT 181 link and discussion]

On 4/29/2019 at 7:52 PM, lipi said:

3. OK. This isn't going to surprise anyone, but I am convinced this is a band tuning up, and they switched instruments for the occasion. Less facetiously: can someone explain this to me? What is interesting or pleasing about this? I'm genuinely curious (though probably not curious enough to play it again). (For the record, I also detest Rothko and Pollock.) Negative infinity stars.

 

I wasn't going to respond to this, but I'll give it a shot. Understood that everyone has different tastes, and that a majority of music listeners (or art lovers, or poetry readers) are not inclined to enjoy the most challenging, avant-garde offerings in those fields. Nothing wrong with any of that. But since you're curious, here's my perspective, with some personal history.

Music like this gives me feelings/reactions that no other kind of music provides. It gives me a kind of slightly abrasive excitement, and I enjoy "watching" (that's how I think of it) the musicians interact and respond to each other. (And they are listening and interacting, even if it sounds random to you). And when the trumpet player returns at the end with the same abstract Texas blues licks (that's a hint) that he started with, I find it immensely satisfying.

Again, everyone is different - but I have found that I have to understand what's going on at some level to enjoy any kind of music. I've probably told this story before, but I once had a very similar reaction to this kind of music that you are having, lipi. I acquired a sampler album on the Arista/Freedom label when I was about 16. It was my introduction to "free jazz," and I liked some of it right away. But there was a track by Albert Ayler, and I was horrified and repelled by it. It seemed like the ugliest music I had ever heard. But I was also fascinated and curious - in my case, curious enough to listen again, because I wanted to know why anyone would make music that sounded like that. On my third listen, I realized that Ayler was playing a recurring melody - so abstract that I didn't hear it at first - that ran through the piece. As soon as it started to musically make sense to me, I could start to get an emotional message (other than revulsion) out of the music.

Not that you or anyone else "should" like this track, or anything else you don't care for. I've had a taste for the unusual since an early age, and not everyone does. But if you're interested in giving the track another try (and I'm not suggested that you should), concentrate on what the trumpet player is doing, and how the saxophone player responds to that - throwing it back with an even more abstract flavor.

I don't know whether or not this is related, but I never liked Kid Thomas Valentine's trumpet playing until I heard Lester Bowie's. I heard a lot of the same sounds and impulses.

[BFT 181 link and discussion]

1 hour ago, lipi said:

Serendipity struck on number 10!

In an attempt to solve the mystery, I went to pull a Dodds CD and this whole weird "alphabetization" thing that's all the rage these days put the correct CD right in front of my nose: Dixieland Jug Blowers. I had to listen to the CD to find the right tune: "Memphis Shake", recorded in Chicago in 1926.

Thank you for reminding me of these guys.

Yep. I love the whole Memphis-north-to-Louisville jug band scene of the 1920s, and love that Dodds fit right in with them. And as a 78 collector, I love that this side is the flip of Jelly Roll Morton's "Doctor Jazz."

[BFT 181 link and discussion]

43 minutes ago, JSngry said:

So is 6 Braxton or Noah Howard?

It's Braxton. Sorry if my response was confusing.

[BFT 181 link and discussion]

4 hours ago, tkeith said:

Apologies -- meant to get to this on stacation last week, but just didn't have time.

A lot here I have no clue on, but all worth a listen.  Can't explain the weird formatting -- chromebook copies the background from the Sticky Note program and fouls up the formatting.  

Track 01 - Tenor Madness, but by the sounds, predating that title. An older bari who plays exactly the style I do not like on the instrument. First trumpeter lacks the facility for the range in which he is playing, to my ear. Second presents a more thoughtful statement. No clue on the rhythm section. Not sure on the alto. Maybe VERY early Sonny Criss. Big, bruising tenor that I cannot identify.

Yes, this predates the Rollins recording. Interesting comments about the trumpet players - can't say that you're wrong.

Track 02 - No idea, no guesses.

Track 03 - Early on I thought I heard shades of Rob Brown in the alto, but it's not him. They were listening, I'll say that.

Not Brown, as you said. I like your comment about the musicians listening in light of Lipi's comments about this track above.

 

Track 04 - Not a style I listen to much, though it's in the collection. This cooks. Could be Bechet.

Bechet indeed. I seem to be in the minority here in enjoying early jazz as much as bebop as much as avant-garde. 

 

Track 05 - Yusef. Not sure what the recording is, but that's gotta be the big man.

Good ear - it is indeed Mr. Lateef.

 

Track 06 - No idea. Someone I'm not familiar with. Seems like a more classically oriented Noah Howard.

Oh, you're familiar with him. This is just a slightly unusual performance for him.

 

Track 07 - Very much in the KC style but no realistic guess as to the leader. My mind hears Basie, but I know I'm wrong.

Basie is at the keys, and there is no leader - this has been ID'ed as the Metronome All Star Band.

 

Track 08 - Afro Blue. Has the air of an Allman Brothers show. No idea who it is.

Yes - Allmans plus guest drummer, whom no one has identified yet.

 

Track 09 - No idea. Growly, bluesy alto.

Very obscure performance, and the alto player is well-respected on these forums.

 

Track 10 - No idea.

Track 11 - Good ol' church Jazz. Me likey. In the style of Phineas, but not him. Snappy drums, but the piano doesn't maintain interest as it goes on.

ID'ed as Eddie Costa, from House of Blue Lights.

 

Track 12 - One way out, couldn't fathom who by. A fun ride.

The singer has been ID'ed as the writer of this fine blues song, Sonny Boy Williamson, with an interesting band of English musicians.

 

Thanks for listening.

 

I have been asked by Hot Ptah, the BFT administrator, to extend my test a few days. The May test will be slightly delayed, apparently. I will post the details about my selections on Friday, May 3.

[BFT 181 link and discussion]

12 hours ago, lipi said:

Getting it in under the wire!

1. Some boppish thing. The pianist actually reminds me of Tatum, but I don't think it is him. I dunno. Have three stars for trying, guys.

Not Tatum, but the pianist was an admirer of Mr. Tatum.

3. OK. This isn't going to surprise anyone, but I am convinced this is a band tuning up, and they switched instruments for the occasion. Less facetiously: can someone explain this to me? What is interesting or pleasing about this? I'm genuinely curious (though probably not curious enough to play it again). (For the record, I also detest Rothko and Pollock.) Negative infinity stars.

When I set up this blindfold test, I almost put in a warning: "Lipi, do not listen to track 3."

4. That's more like it! The New Orleans Feetwarmers, early 30s. Bechet, Ladnier, Morland, and some guys I can't think of right now. Love. Five stars.

6. Someone playing an alto (I think). It sounds classical in a way. More Benny Goodman playing Mozart than Julian Bliss playing Ellington. Oddly curious about this, though it's also not really my thing (I'm sure you're simply shocked, shocked to find out there's gambling going on in here).

You're not the first person to say that this almost sounds "classical."

7. Big Sid? Oh! Basie! And Buddy Rich, not Big Sid (oops...an odd mistake to make). "All-Star Jump" I think they titled it. OOJ by the Metronome All-Stars in...1942? 1941? Early 1940s. Who the hell is on here? Ah, here's Christian. Higginbottham, I think, and Dorsey is also in there. Hawk. Cootie Williams. Benny Carter, I think? Harry James (is it my imagination or does he sound "dirtier" (in a good way) here? Cootie influence?).  Goodman. There were some other big names in there, but they're lost in the mix. I think Toots Mondello and Tex Beneke were on there, no?

This is one of those "WTF did you only record two sides?!" sessions. Once you have all these guys in one room just toss in some sandwiches, lock the door, and roll all the tape you've got! (OK, so they didn't have tape... Still.)

Fifty stars.

Glad you liked this. Yeah, the Metronome All Star bands were usually pretty good.

8. OK. I don't like this, but at least I sorta get it. A star is all you get, fellas. I spent all the others on the last track.

9. I like this! What is it? Bebop meets early R&B?! And that hook is SO familiar—I can't place it, but it sounds like a NT Basie riff. When was this recorded? That guitar sounds awfully modern at times. It's all over the place. Late 50's, maybe? Three stars plus one for that riff!

As I said before, this is the most obscure item here. I don't think that it's been reissued, so when this BFT is over I'll put this (and the flip side) somewhere where folks can download it.

10. Uh-oh. This I should recognize, I suspect. Mid 1920s, jug, beautiful clarinet... I don't know! Dodds, maybe...? I suspect this wasn't everyone's favourite. Two plus one for the clarinetist, and, hey, let's throw in another half for the jug—you don't hear enough jugs these days, you know?

You get a point for the clarinetist - Johnny Dodds indeed.

12. I like this. I know nothing about this stuff, but it's fun. The singer's inflection borders on Joe Cocker's at times, but this guy's voice doesn't sound like he spent four years screaming into the wind while gargling sulphuric acid and smoking six of those cartoon exploding cigars at once. Four stars for what it is.

 

[BFT 181 link and discussion]

One more week to go, if anyone else is interested.

[BFT 181 link and discussion]

2 hours ago, Hot Ptah said:

Track 2. I have this album. It is from the "Indian Summer" album by Dave Brubeck. It is the opening track on the album, "You'll Never Know."

I saw Dave Brubeck live four times in the last decade of his life. I was struck by how good he was, and how evocative his playing was. The cliches about him pounding clumsily on the piano did not fit. So I bought several of his later albums, including this one.

Track 6.  I heard Anthony Braxton play two different solo alto saxophone concerts very much in the style of this recording.

One was at Milwaukee's Jazz Gallery in the summer of 1980. At times during that concert, he sounded more like Johnny Hodges than anyone else I have heard.

In September, 1980, I heard him again, in a solo alto saxophone performance much like this track. It was a Saturday afternoon set at the 1980 Ann Arbor Jazz Festival. (The rest of the 1980 Ann Arbor Jazz Festival: Stephane Grappelli and Oregon on Friday night, Chico Freeman and Stanley Turrentine on Saturday night, Arthur Blythe (with John Hicks, Fred Hopkins and Steve McCall) and Sarah Vaughan on Sunday night.
 

Correct on track 2. I don't think the Indian Summer album is a masterpiece or anything like that, but it's one I always enjoy when I play it. The slightly melancholy, bittersweet flavor is consistent through the album, which was his final studio recording, I believe. It feels like a valedictory look back on his life.

The last time I saw Braxton play solo was a couple of years ago, when he was artist-in-residence for a couple of weeks at the University of Alabama. I judged the audience at his opening solo concert to be 1/3 excited Braxton fans, 1/3 curious music lovers, and 1/3 music students trying to fulfill their concert attendance requirements. I wondered how the last two groups would respond to the concert, but Braxton's programming was masterful. He started with a lyrical ballad like this, then moved on to a fast, technically impressive virtuoso piece. After those two selections, the audience was with him, and stayed with him when he started playing abrasive multiphonics and such.

2 hours ago, JSngry said:

Brubeck, that makes sense. Whatever else he was or wasn't, he was never clumsy. That's something he had in common with Monk. His time was always rock-solid. Even when he "pounded", it was rock-solid. And when he did his polyrhythms, it was especially rock-solid, it had to be.

That album, is it all solo?

 

Yes - all solo readings of standards.

[BFT 181 link and discussion]

6 minutes ago, JSngry said:

I think it's the perfect sum of those particular parts, could have been a lot worse, could not have been better for that time/place/peoples.

You put Sonny Boy into any mix, and right away, possible outcomes are pretty clearly set in stone. If you want better than this, gonna have to change the pieces, up to and including Sonny Boy. But if/when you did that, then whattya get? A John Mayall record?

Not that there's anything wrong with that.

But no matter - JOE HARRIOT!!!!

This session is pretty much a mess, but it's kind of a glorious mess. I included what I think is the best selection. Some of the other tracks really sound unfinished. But I love anything with Sonny Boy, and have always enjoyed Joe Harriot just going for it on this track.

[BFT 181 link and discussion]

4 hours ago, JSngry said:

Ok, let me ask one more question about #12 - the singer, as I hear it, is doing a pretty good Sonny Boy Williamson imitation. But there are fleeting moments where it does indeed appear to be an imitation. So...behind that mask, how big of a journey would the individual likely had to have made to be able to do such a good imitation?

My question is entirely socio-curious. I dig the cut a lot. It reminds me of a lot of, like, earliest Butterfield or Charlie Musselwhite, where both the sincerity and the slight "otherness" work with and not against each other. Sounds a bit like that happening here, although, hey, what do I know?

Um, I'd say that it's beyond a good Sonny Boy Williamson imitation. Like, the best possible. Literally.

And yes, the organ sounds like a Vox or some other combo organ to me.

[BFT 181 link and discussion]

1 hour ago, JSngry said:

Is the Eddie Costa cut from that Dot record? House Of Blue Lights, I think it was?

Yes, from House of Blue Lights.

and #12...is that a, uh...band of peoples who might have come to the blues consciously more than waking up to find the blues already there? Somethings about the vocal and the organ have me asking this question, and asking because I really could see that one going either/both way/ways.

This is an eclectic gathering of individuals from different backgrounds and varying relationships to the blues.

is that you on #3?

No. One of our members here is connected to this recording, though.

 

[BFT 181 link and discussion]

3 hours ago, JSngry said:

Small window for a small response, sorry...

TRACK ONE - Little tenor, no madness, just sweebop! https://www.discogs.com/Kenny-Clarke-And-His-52nd-Street-Boys-52nd-Street-Theme-Rue-Chaptal-Royal-Roost/release/5386170

Bam! Target hit!

TRACK TWO - Is the song "You'll Never Know"? I like the tempo and the way it stays there. Like Monk in that regard, but his is not Monk. I guess I'll never know...

You got the song.

TRACK THREE - Oh, THAT'S nice! Bowie & Tchichai? No? If not, one or the other? I do like it! That drummer got it. Trumpet sounds less like Bowie as the piece develops, and no, probably not Bowie. Still like it, a lot.

IDs are not correct, but I'm glad you like the recording.

TRACK FOUR - Bechet totally kicking ass. Excuse the redundancy.

Bechet was always packing, for sure.

TRACK FIVE - Yusef (that sound!) & Elvin (that time!). Yonder be some playin', matie, full speed ahead!

Nicely done.

TRACK SIX - Braxton, almost surely? That narrows it down, right?

Braxton indeed. Didn't really expect anyone to narrow it down the album or track; just wanted folks to hear this aspect of his playing.

TRACK SEVEN - I love shit that sounds like an ass purposely wiggling. This does that, so I love it.

More info above.

TRACK EIGHT - Not to my taste, but everybody plays well enough.

The folks who like this band found this one pretty intriguing. Everyone else is not likely to like it much.

TRACK NINE - Gator? Whoever it is knows how that shit works form the ground up. No fadcadism going on here.

Not Gator. A real rarity which may surprise some folks.

TRACK TEN - Is that a bass/contrabass sax on the bottom, or a priapic kazzoo? AND a tuba? I don't know enough to have an informed opinion, so all I can say with certainty that if I'm not going to like it, it would take a while to get there.Right now, it entertains me!

Your middle guess as to the bass instrument(s) is not correct, but is closest.

TRACK ELEVEN - Liking that drummer! Eccentric piano...eccentric but informed! Eddie Costa? The way he's playing those low octaves pouts me in mind of him, but I've heard him in bits and pieces, never really on a sustained basis. But did he live long enough for somebody to let him make a record like this (no, I don't think he did) , and are we instead getting out of America? I like the bits and pieces of it, as a whole...maybe not quite as much...at what point am I supposed to stop being impressed and just start digging?

Another target falls! It is indeed Eddie Costa.

TRACK TWELVE - that alto player puts me in mind of The Treniers, but not the vocal, not at all. No matter, that's badass, all of it. I can hear this being something that Cleanhead did with somebody, somewhere.There was a time when I'd have this figured out, but I'm afraid that time has passed. Oh well, besides, it's a groove!

Cleanhead is a reasonable guess, considering, but no. I will resist the temptation to reveal more right now.

The whole thing was a groove, pretty much. Wish I had more time, but life is short, time is only there until it's not, so....onward!

Pretty good shooting, there, overall.

 

 

[BFT 181 link and discussion]

On 4/1/2019 at 4:55 PM, felser said:

#8 has to be a live recording of the Warren Haynes/Derek Trucks version Allman Brothers doing "Afro-Blue", doesn't it?   I know Trucks loves the song, and I don't think Betts and Trucks ever played together in the group - Haynes was the common denominator on guitar. 

Since there has been a fair amount of Allman Brothers discussion in this thread, I'll throw in a correction. Dickey Betts and Derek Trucks did play together in the ABB for a short time when Trucks first joined the band. (Haynes had left to form Gov't Mule.) There's even an album - Peakin' at the Beacon, recorded at the Beacon Theatre in March, 2000. This was when Betts was getting more and more erratic and his playing getting sloppier; his Beacon performances were so bad that they led the other founding members to disinvite him from the spring/summer tour. Jimmy Herring filled in for a short time, then Warren Haynes came back to complete the final lineup of the band.

Peakin' at the Beacon is so bad that I once wondered why the band released it. Not only are Betts' solos substandard, but he is unable to play some of the ensemble parts correctly - parts he must have played thousands of times. I think the album is the band's explanation to the fans of why they let Dickey go: "This is what we were dealing with."

[BFT 181 link and discussion]

2 hours ago, Milestones said:

Track #2 features a pianist with a nice touch, though the approach does not seem very adventurous.  A lot of possibilities here; I would not hazard a guess. 

I like this one, but it's certainly not a masterpiece, and maybe a little anonymous. It might be more interesting after the fact - when people know who it it.

Track #3 is an odd one.  It's like 1950's Miles coming out of one channel and 60's/70's avant garde out of the other, with no attempt to meet one another. 

I know where you're coming from, although I don't quite agree. It's a kind of improvisation where the musicians are going in the same general direction, but on parallel paths.

Track #5 sounds like Sonny Rollins in a trio setting, though probably not--it could be a very good imitator.  The drummer could well be Elvin Jones, though he seems to have a lighter touch.

It's not Sonny, although I was fairly certain that someone would think it was. The drummer is indeed Elvin Jones, so you get a point there. I like this track very much - it jumped out at me when I played this album recently.

Track #6 is an alto?  Not sure.  It has a Classical music feel, not that your hear sax (spotlighted) over there.  No guess.

It is indeed an alto saxophone.

Tracks #7 sounds a lot like Basie, though the guitar solo threw me--Eddie Durham? It even seems to shift into "One O'Clock Jump."

Basie indeed, but not with his band. As medjuck said earlier, it's the Metronome All Star band from 1941. For folks who might not know, it's the winners, or as many as could make the record date, from Metronome magazine's annual jazz poll. They recorded a charity record (with a few gaps) from 1939 to 1956. Charlie Christian is the guitarist on this one.

Track #8 is definitely "Afro Blue."  Nice work on the drums to open up.  Good groove in a fusion style.  Some of the guitar work reminds me of Scofield.  So It's the Allmans?  I know the band's early work pretty well, and much of it is great.  This is attaining nearly the same level, and it's jazzier. 

Yes, Warren Haynes and Derek Trucks were a formidable guitar team. The drummer is a guest, as I said earlier. I'll be interested to see if anyone identifies him.

Track #9 is old time jazz with R&B flavor.  This is stuff that must have influenced early rock 'n roll. 

Definite R & B flavor. It might be slightly later than you're thinking. This is the one "so rare that it's unfair" track that I included this time around.

My first thought on #10 is that it's very early Ellington. I've heard my share of this stuff, but can't identify the number...if it is Duke.

Early stuff, but not Ellington.

Track #11 features a locked-in trio, and the pianist shows the influence of Monk and Nichols--maybe a bit of Oscar Peterson too.  I don't know who's doing this, but it's very engaging--my favorite track on the BFT. \

Yes, this is very interesting and creative playing.

Overall, an interesting and certainly diverse set of tunes.

Thank you.

 

[BFT 181 link and discussion]

2 hours ago, medjuck said:

Haven't listened to all of it yet but really like what I have heard.  (I was listening while working out at the Y this morning.  Great exercise music.)    Only one I've id'd is number 7 (which was pretty easy). Metronome al stars and they really were all stars-- Basie, Bean, Christian, Carter, Goodman etc.  I think Bean's solo was one he later turned into a song.  One Step Down maybe?  

Yes - the Metronome All-Stars. I won't add any other details now in case someone else wishes to do so.

39 minutes ago, BillF said:

Track 1

"Ooh Bop Sh'Bam" Powell, Navarro, Dorham, Stitt

Track 4

Sidney Bechet, Tommy Ladnier, "I've Found a New Baby"

Track 11

Phineas Newborn?

Yes on tracks 1 & 4; no on track 11. When someone who owns that album hears that track, they'll know it right away.

18 minutes ago, felser said:

#8 has to be a live recording of the Warren Haynes/Derek Trucks version Allman Brothers doing "Afro-Blue", doesn't it?   I know Trucks loves the song, and I don't think Betts and Trucks ever played together in the group - Haynes was the common denominator on guitar. 

Yes, it's the Allman Brothers Band, but with a guest drummer in place of Butch Trucks and Jaimoe. 

[BFT 181 link and discussion]

Here's # 181. It's about an hour long. The music is all over the place, stylistically. Feel free to skip anything that doesn't appeal to you. 

http://thomkeith.net/index.php/blindfold-tests/

[What vinyl are you spinning right now??]

Q

Hamiet Bluiett Quartet - S.O.S. (India Navigation)

[What vinyl are you spinning right now??]

2 hours ago, sidewinder said:

 

UK Columbia mono. With Shake Keane

I'm tickled that someone else here has this very interesting record. Inspired by Max Harrison's praise, I tracked down the American Serenus issue a few years back:

NP:

Ray Charles - The Genius Sings the Blues (Atlantic mono)

[BFT 180 answers]

I listened and enjoyed, but have been so busy that I never got around to writing up my thoughts. I recognized only David Murray, Wayne Shorter, and Lonnie Smith. I really enjoyed "I Remember April."

[What vinyl are you spinning right now??]

Horace Silver - Serenade to a Soul Sister (BN promo)

[What vinyl are you spinning right now??]

 

Chick Corea/Miroslav Vitous/Roy Haynes - Trio Music (ECM)

Lee Konitz/Warne Marsh/Al Levitt/Peter Ind - London Concert (Wave)

I'm wary of post-Circle Corea, but I like this trio. The Wave album is superb.

[The Great Day in Harlem photo - which of them did you see live?]

Back to the Mary Lou/Cecil concert - I think I hear it a little differently than most other people. It doesn't quite work, but to my ears it almost does. And the degree to which it almost works is entirely due to Taylor, not to Williams. Most people hear two very different pianists inflexibly going their own way. I think that's true of Williams, but I hear Cecil "leaning in" towards Mary Lou's world. His rippling phrases are often abstract, fun-house-mirror reflections of what Williams is playing.

It reminds of of the Cecil Taylor/Derek Bailey concert recording on FMP. Again, Cecil's partner does nothing to accommodate the pianist, and just goes his own way. But Taylor listens carefully, and adjusts his style to Bailey's. The FMP album works better than the Williams/Taylor concert, because Bailey and Taylor were closer stylistically to begin with. But I hear Taylor at least trying to make something happen with Williams.

[What vinyl are you spinning right now??]

Sonny Stitt/Bunky Green - Soul in the Night (Cadet). Yeah, Stitt is a burner, but to my ears, Bunky's playing is so much more interesting and imaginative.