Hot Ptah

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    Dr. Funkenstein

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  1. BFT #158 signup.

    I will participate through the streaming option on the link set up by Thom Keith. With the convenient way that Thom sets it up for us, and the current practice of just posting the link in this thread instead of using private messages, signing up for the new BFT is not really necessary. Anyone can just jump in when the link is activated. But I am glad that you have announced the BFT, and look forward to what you have in store for us!
  2. BFT # 157 Discussion

    That surprises me, because the Masada String Trio recordings which I have heard feature them in layered, beautiful, textured playing for the most part. I have not heard them in an out and out blowing session like this track.
  3. BFT # 157 Discussion

    My thoughts. I can't identify much (or maybe nothing!) 1. I have no idea who this is, but I like it. It is a throwback to me of the 1970s, when even well respected mainstream jazz artists would release albums with infectious, catchy songs. Nothing wrong with that. I wish the vibes player had soloed longer. 2. This is odd to me because the musicians sound like they are playing in a 1950s Blue Note style, but the drumming sounds more contemporary. I think that the little I hear of the pianist makes me wonder if he or she is not the best soloist in the group. 3. Very lively, energetic, roaring big band, with some good soloists. I do not hear a jazz master among the soloists, but several are quite good. No idea who this is, but I am looking forward to finding out. 4. Beautiful, haunting. It reminds me of Brad Mehldau when I saw him live a few years ago, and I thought his playing had deepened in meaning from ten years earlier. Is it him? 5. That is some intense clarinet playing, and an intense band overall. I have no idea who it is. It sounds like a major player at work, but I can't place him, or them. 6. Another catchy song, with not quite enough jazz soloing for me, although the players sound skilled. I like the immediacy of the appeal of the track, something that is often lost in jazz after a certain point in its history. The guitarist should be identifiable, because not that many jazz guitarists play like that in recordings, but I can't place him. 7. This is odd to me, because it sounds authentically Latin, but the solos veer into other territory, and there are other elements besides Latin music--unless it is a form of Latin music that I am unaware of. I have learned that there are many different styles of Brazilian music, and of Mexican music, which the American listener may be totally unaware of. The solos are quite good. Another one for which I am looking forward to the Reveal. 8. . A very skilled piano trio. I have to admit that I admire this track more than I actually enjoy it. 9. Wow, what a wild ride! Who can solo that well on violin, and another string instrument--is that a cello? I am not that familiar with the String Trio of New York. There have not been too many string ensembles in jazz though, so that is my guess. 10. That sounds ethnic to me--African, or Middle Eastern? I wonder if The Magnificent Goldberg would know these musicians. I like it. 11. I really like this. The early elements are simple, but immediately appealing. Nothing wrong with that. We could use more of that in jazz. Then a saxophone player emerges. To me it is as if the saxophone soloist emerges out of the mists. The second saxophone soloist may be a more skilled player, but I enjoy the first saxophone soloist's playing more. I have no idea who this is, but I want to find out! 12. This is really wild stuff. I have no idea who would play like this. This may sound odd, but when the strings suddenly appear, it is as if the clouds open and sunshine pours in. It reminds me of the very end of Jethro Tull's 'Thick As a Brick' when similar strings suddenly appear in the midst of some dense, rather intense playing. I have no idea who this is. I wish that the guitarist had soloed longer. 13. Exotica. I have heard quite a bit of 1950s exotica on a public radio program on the public station in Lawrence, Kansas, hosted by Darrell Brogdon, the Retro Cocktail Hour. Whoever recorded this track knows their 1950s exotica. There are little touches here that are so authentic. But the solos sound more contemporary. Is it a skilled recreation of that era? 14. I love this track. It has a dreamy feeling to it that really appeals to me. It reminds me of something that would have been done in the early, creative days of fusion in the early 1970s. I have no idea who it is. If it was recorded in the early 1970s, I missed it back then. A really interesting Blindfold Test! It is different from many BFTs which we have had here, and I like this type of variety.
  4. BFT 156 Reveal

    Ms. Miyamoto seems to be a mainstream, straightahead, rather lyrical pianist. David Sanchez guests with her on a recent project. She has recorded Sonny Rollins' "Pent Up House" on a recent release. All of the Piano Tales album is acoustic jazz piano, in an uncompromising style. Some of it swings, some is more like the track that I picked for this BFT. Earlier in her career, she recorded with Kirk Whalum. It does not seem like that association has continued, from what I can tell on her website. She is based in Atlanta and seems to be quite active there. Too bad Jeff Crompton is no longer participating in the Blindfold Tests. He might be able to tell us more about her. Not all of "Roots, Branches and Dances" is so Tyner influenced. All of it is quite good, I think. I bought it at Schoolkids Records in Ann Arbor, Michigan when the LP was first released. Schoolkids was a great jazz record store in 1979 and carried a wide variety of new jazz releases, on labels large to very small.
  5. BFT 156 Reveal

    10. Forever Charles, by the Anthony Davis/James Newton Quartet, from Hidden Voices, (India Navigation, 1979). Composed by James Newton. James Newton---flute Anthony Davis—piano Rick Rozie—bass Pheeroan akLaff—drums With George Lewis—trombone I saw James Newton and Anthony Davis perform as a duo in Ann Arbor, Michigan, in 1980. That was an amazing performance. I thought at the time that they would become prominent leaders in jazz in the decades to come. This song, James Newton’s “Forever Charles”, is his tribute to Charles Mingus. He also recorded it on his 1987 Blue Note album, Romance and Revolution. That was back when James Newton released an album every year which received attention in the jazz press and from jazz fans. 11. Big City Blues, by Sun Ra (actually the album lists the artist as The Le Suny’r Ra Band for this track), from The Eternal Myth Revealed, Volume 1 (Transparency, 2011) Composed by Sun Ra. The Eternal Myth Revealed, Volume 1 is a 14 CD box set. This track is on Disc 12, track 11. According to the liner notes, this track was recorded on March 18, 1956, at Bud Land, Chicago. Phil Cohran—trumpet James Spaulding—alto saxophone Marshall Allen—flute John Gilmore—tenor saxophone Sun Ra—piano Ronnie Boykins—bass Robert Barry—drums. The Transparency box set, The Eternal Myth Revealed, Volume 1, has an extensive booklet to accompany its 14 CDs. There is a lot of music that Sun Ra does not play on, which the producer believes influenced Sun Ra, or on which Sun Ra may have played some supporting, or behind the scenes role. By the last CDs of the box set, we are treated to early Sun Ra recordings, such as this live recording from a Chicago club in March, 1956. March, 1956! Think of what else was going on in jazz at that time. Sun Ra’s first album, Jazz by Sun Ra on Transition (later reissued as Sun Song) was reportedly recorded four months later, in July, 1956. If the date of this live recording is accurate, Sun Ra and his group were playing some very intense music for early 1956. 12. Sometimes I Feel Like a Motherless Child, by Fats Waller, from V Disc Recordings, (Collectors Choice, 1999). Recorded in September, 1943, at Waller’s last recording session. Composer: Traditional. Fats Waller—organ, spoken part. This is from Fats Waller’s last recording session, a few months before his death. It was meant for the V Disc series, to be distributed to America’s military personnel overseas during World War II. To me, and to Thom Keith who also commented on this, Fats Waller’s organ playing here sounds very much like what Sun Ra performed many years later on organ. When Sun Ra did it much later, it was considered unusual. I wonder if Sun Ra heard Fats Waller play like this in person, or on record. 13. The Girl from Ipanema, by Jack Sheldon, from Live at Don Mupo’s Gold Nugget (VSOP, 1997; recorded April, 1965, in Oakland, California) Composed by Antonio Carlos Jobim. Comedy material by Jack Sheldon and Jack Marshall. Jack Marshall—spoken part, record executive Jack Sheldon—spoken part, musician. Vocal and guitar. According to the liner notes of this CD release, Jack Marshall was Jack Sheldon’s long time manager.
  6. BFT 156 Reveal

    1. .Beloved Old Wreck, by Takana Miyamoto, from Piano Tales (Maru Music, 2004) Composed by Takana Miyamoto. Takana Miyamoto—piano. From what I have read on her website, Takana Miyamoto is now active in Atlanta. 2. Salima’s Dance, by Ronnie Mathews, from Roots, Branches and Dances (Bee Hive, 1979) Composed by Ronnie Mathews Ronnie Mathews—piano. Frank Foster—soprano saxophone. Ray Drummond—bass Al Foster-drums Azzedin Weston—percussion. I have always liked this album very much. To my knowledge, it was never reissued on CD until 2015, in the Mosaic “Complete Bee Hive Sessions” box set. 3. Manteca, by Cornell Dupree, from Bop ‘N’ Blues (Kokopelli, 1995) Composed by Dizzy Gillespie/Fuller. Cornell Dupree-guitar. Ronnie Cuber—baritone saxophone (solo). Bobby Watson—alto saxophone Terell Stafford—trumpet Leon Pendarvis---organ, piano Chuck Rainey—bass Ricky Sebastian—drums Sammy Figueroa--percussion 4. Jitterbug Waltz, by Arthur Blythe, from In the Tradition (Columbia, 1979) Composed by Fats Waller. Arthur Blythe—alto saxophone Stanley Cowell—piano Fred Hopkins—bass Steve McCall—drums I loved the Arthur Blythe albums and bought them as they were issued in the late 1970s and 1980s. To my knowledge, In the Tradition was never reissued on CD until 2016, in a four album Arthur Blythe package on two CDs, issued by BGO Records. 5. Steeplechase, by Jack Sheldon, from Live at Don Mupo’s Gold Nugget (VSOP, 1997; recorded April, 1965, in Oakland, California) Composed by Charlie Parker. Jack Sheldon—trumpet Howard Roberts-guitar Joe Mondragon-bass Stan Levey—drums 6. 6. Hip Shaker, by Chris Hazelton’s Boogaloo 7, from Soul Jazz Fridays (Sunflower Soul Records, 2016). Recorded October, 2015, at the Green Lady Lounge, Kansas City, Missouri. Composed by Leon Spencer, Jr. Chris Hazelton--organ Nick Howell—trumpet and trombone Nick Rowland—tenor saxophone Brett Jackson—baritone saxophone Matt Hopper—guitar Danny Rojas—drums Pat Conway—percussion This was recorded in a bar which is about five blocks from my office in Kansas City. 7. . Tears in My Eyes, by Al Smith, from Hear My Blues (Prestige/ Bluesville, 1960) Composed by Al Smith Al Smith—vocals Eddie “Lockjaw” Davis—tenor saxophone Shirley Scott—organ Wendell Marshall—bass Arthur Edgehill—drums I have read that Eddie “Lockjaw” Davis was given a chance by the record label to showcase any artist of his choosing, and he chose Al Smith. 8. St. Louis Blues, by Johnny Copeland, from Copeland Special (Rounder, 1981) Composed by W.C. Handy. Johnny Copeland—vocals, guitar (solo) George Adams—tenor saxophone (solo) Arthur Blythe—alto saxophone Byard Lancaster—alto and tenor saxophones Joe Rigby—baritone saxophone John Pratt—trumpet Yusef Yancey—trumpet Garrett List—trombone Bill Ohashi—trombone John Leibman—guitar Ken Vangel—piano Don Whitcomb—bass Mansfield Hitchman—drums This album, a combination of Johnny Copeland’s blues, and a jazz horn section with notable jazz soloists, has never been reissued on CD, to my knowledge. 9. . When Was That, by Henry Threadgill, from When Was That (About Time, 1982) Composed by Henry Threadgill. Henry Threadgill: alto saxophone, tenor saxophone Craig Harris: trombone Olu Dara: cornet Brian Smith: piccolo bass Fred Hopkins: bass John Betsch: drums Pheeroan akLaff: drums This is one of my favorite Henry Threadgill albums.
  7. Arthur Blythe R.I.P.

    Most of the Columbia albums led by Blythe are not available on CD. Four of them were released just last year on CD in a budget two CD package, on the BGO label. I think that this was the first CD reissue for at least two of the albums. Some of the later Columbias have never been reissued on CD. I have long though that the Complete Columbia Arthur Blythe Albums would be a good Mosaic set.
  8. BFT156 Announcement and Discussion

    Yes, you have identified Track 6 correctly. I find it interesting that after hearing this local Kansas City group, one board member commented that the band "doesn't quite catch the groove", but that no one else found fault with them, and no one guessed that this is a local group.
  9. BFT156 Announcement and Discussion

    Your wait is nearly over!
  10. BFT156 Announcement and Discussion

    Those are good hints.
  11. BFT156 Announcement and Discussion

    We are now in the final week of this discussion. The Reveal will be posted on Friday, March 31.
  12. Arthur Blythe R.I.P.

    I love his whole series of Columbia albums, and many albums on other labels. I was fortunate enough to see him live several times. He had a unique and compelling voice on alto saxophone. I always enjoyed his playing a great deal.