DrJ

And PART DEUX: 8) Peltier, Tommy’s Jazz Corps – Off the Wall (Tommy Peltier). From “Live at the Lighthouse 1963-7” (Cadence Historical Series). Recorded 1963. Peltier – cornet; Freddy Rodriguez – alto saxophone; Bill Plummer- bass; Maurice Miller – drums. I'm pleased most people dug this, which I figured to be one of the bigger stumpers. Like the Billy Rogers recording, this one was the result of some loving archeology, this time by Bob Rusch of Cadence. I believe the story goes that Peltier or someone affiliated with him found these cassettes (yes cassettes - remarkable how great this stuff has been made to sound) of live recordings of the group from the Lighthouse and notified Rusch, who was initially rather unenthusiastic (since he wasn't a big fan of the only Peltier he'd heard at the time - the recording with Roland Kirk). But after hearing these recordings, he was converted, and agreed to a two volume release cherry picking the best stuff, on his own Cadence label. Both volumes are still available direct from Cadence, and WELL worth snagging. While clearly in considerable debt to the music Ornette Coleman was laying down around that time, this is refeshing, enjoyable music with its own thing going. 9) Cables, George – Phantom of the City (George Cables). From “Phantom of the City” (Contemporary). Recorded 1985. Cables – piano; John Heard – bass; Tony Williams – drums. I figured this would be a crowd favorite - not! Go figure. I also hear the appreciation of Chick Corea's composing but Cables puts his own thing in there too - I find he has a very distinctive approach to phrasing and one of the more identifiable "attacks" on the piano. Tony Williams is huge on drums - I still prefer his earlier playing before he got so heavily influenced by rock but on this recording and the whole album he keeps things in check a bit more than he had a tendency to do sometimes at this point, avoiding over-powering the group. Unfortunatley this is another very hard to find recording - never out on CD (why Fantasy/OJC, WHY?). 10) Fuller, Curtis – Little Dreams (Curtis Fuller). From “Four On the Outside” (Timeless). Recorded 1978. Fuller- trombone; Pepper Adams – baritone saxophone; James Williams – piano; Dennis Irwin – bass; John Yarling – drums. Like the Coles/Wess date, this one is just pure listening pleasure - nothing complicated, as others pointed out just confident, seasoned jazz playing by a stellar group. Fuller continues to be sorely under-appreciated as a composer, so you know I had to include him on a disc with the loose theme of neglected jazz compositions. This is one of those pieces of music that is so deceptive - it sounds like something you'd write in 5 minutes - "childlike" I think someone said - yet, well, nobody other than Curtis seems to write this kind of stuff in jazz. There's a kind of modest genius in that, and in his utterly distinctive trombone tone. Nothing more need be said about Pepper Adams - you guys nailed it there. And let me put in a plug for the wonderful, sadly departed James Williams. One of his best showings on record, I think. 11) Hancock Island – Rockit (Herbie Hancock). From “The Music of Herbie Hancock” (Chesky). Recorded 2007. Steve Wilson – soprano saxophone; George Colligan – arranger, Fender Rhodes piano; Buster Williams – bass; Lenny White – drums. What can I say, I expected a little more love for this. Hancock (unlike Fuller) IS recognized as a composer of great jazz tunes, and the thing I thought was cool here is that I would never have included "Rockit" among them - until hearing it arranged and played this way - then it "clicked" and I realized it's fully in the lineage. A bit humbling to realize how much sometimes we are influenced by the trappings rather than the essence. In terms of the playing here, I dig it - Colligan is under-rated in my view and is along with Kevin Hays one of the best modern exponents of the Fender Rhodes, which I also generally dig, a lot. And I find Lenny White's drums (including the little arranged breaks) are spot on. Wonderful natural sounding recording too, issued as an SACD. 12) Jazz Composer’s Orchestra – Communications#9 (Michael Mantler). From “The Jazz Composer’s Orchestra” (ECM). Recorded 1968. Michael Mantler – Conductor; Larry Coryell – guitar; Carla Bley – piano; Beaver Harris – drums; plus orchestra. Not much more to say that hasn't been said. I think approached with open ears and some concentration, there is an internal logic to this music that becomes quite apparent - it isn't just sawing away - with a huge payoff at the end where everything just clicks. I like what Coryell does here - it's "freak out," but very much controlled freak out, if that isn't too much of an oxymoron. 13) DiNovi, Gene – Springsville (John Carisi). From “Renaissance of a Jazz Master” (Candid). DiNovi – piano; Dave Young – bass; Terry Clarke – drums. I figured this would be a stumper. First the tune: "Springsville" is of course famous for being the opening piece on the first Miles Davis/Gil Evans collaboration for Columbia, MILES AHEAD - and always one of my very favorite pieces on that recording and in music in general. So when I heard it done up this way I flipped - I think DiNovi manages to make it sound orchestrated without overdoing, and by emphasizing the darker/melancholy undercurrent of the piece, he has transformed it, creating a little mini masterpiece in the process. This is a tune that demands wider coverage. Now about DiNovi, he had quite a varied and interesting career which you can read more about here: Di Novi bio. Before I had picked up this excellent trio recording from the autumn of his career, I had only been familiar with his playing from some tracks he did with Benny Goodman during the latter's period of experimentation with a more bop-influenced sound, included on the UNDERCURRENT BLUES release on Blue Note. I'm so glad I found this interesting Candid release in the bargain used bins not long ago and explored Di Novi's playing, and hope you'll check him out too. 14) Tucker, Mickey – Giant Steps (John Coltrane). From “Triplicity” (Xanadu). Recorded 1975. Tucker – organ; Jimmy Ponder – guitar; Eddie Gladden – drums. So this was apparently initially issued on this date led by Tucker, more widely known of course as a pianist - though I actually pulled it off the very hard to find French Xanadu release of a James Moody date with Tucker and crew in support called JAMES MOODY AND THE HIP ORGAN TRIO - which is well worth having by the way, Moody is in fine form. Anyway, no matter how you may pick it up, it's a fun romp through that eternal separator of the men (or women) from the boys (or girls), and I thought a nice way to bring BFT 100 to a close. Hope you enjoyed it as much as I did!

OK here were go with Part I: The loose "theme" here was simply great jazz compositions...I'm a big fan of composers and songs and wanted to purposely avoid generic blues and the like for this BFT (not that there's anything wrong with that stuff at all, but wanted a different kind of thing). I tried to include some of my favorites from the category of "why aren't they covered more?" Obviously it wasn't a 100% strict theme, broken by well-known chestnuts like "It Ain't Necessarily So." Speaking of which... 1) Williams, Mary Lou – It Ain’t Necessarily So (George & Ira Gershwin). From “Black Christ of the Andes (Smithsonian Folkways). Recorded 1962 or 1963. Williams – piano; Theodore Cromwell – bass; George Chamble – drums. What more is there left to say? One of my very favorite slices of jazz, any era, period. As I said in the discussion thread, if I ever get that jazz radio show I hope to some day, this would be the theme music. 2) Rogers, Billy - E.S.P. (Wayne Shorter). From “The Guitar Artistry of Billy Rogers” (Stash). Recorded 1992. Rogers – guitar; Dave Stryker – rhythm guitar; Jay Anderson – bass; Jeff Hirshfeld – drums. I feel I need to "defend" this poor track a little, which got a lot of criticisms. It may help to realize that this recording (and the whole album it comes from) was pieced together as an act of love and respect by fellow guitarist Stryker - who used private demo and practice recordings (primarily off cassette) to assemble finished tracks, overdubbing all of the other musicians including himself. So yes this song and most of the pieces on this recording sound a little artificial and odd, and Rogers' solos would probably have benefitted (in terms of concision etc) had he known they were actually going to be consumed by the public, but the point was to showcase Rogers' abilities. Among other gigs he was the Crusaders' guitarist, replacing Larry Carlton when he departed. Unfortunately Rogers had a major drug problem and died far too young, without ever getting a proper chance to show his abilities in a straight ahead jazz context on a commercial record. I think we all owe a debt of gratitude to Stryker for documenting Rogers' potential (even if not quite fully realized). Josef Woodard gave this recording a 4.5 star review in Downbeat on its issue, saying "Rogers plays with a do-or-die intensity, brandishing both technical ferocity and a kind of pained sense of musicality. It's a must-own item." Well said. I also don't quite follow the negative comments about covering E.S.P. Terrific little piece to improvise over and I don't find it to be over-covered at all. You could do a lot worse than to make that era of Miles' music and jazz in general your starting reference point, IMHO. 3) Wess, Frank & Johnny Coles – Morning Star (Rodgers Grant). From “Two at the Top” (Uptown). Recorded 1983. Wess – alto saxophone; Coles – flugelhorn; Kenny Barron – piano; Reggie Johnson – bass; Kenny Washington – drums. This recording is one of my favorites for pure, straightforward beauty and listening pleasure. The playing is superb (I have never heard Barron play better myself), and the tune selection very nice, including a lot of under-appreciated gems like "Morning Star." Unfortunately it'll be hard to find - was only ever out on vinyl. Why Uptown hasn't seen fit to reissue it on CD, I'm not sure. Apparently the track "I'll Be Home For Christmas" was also recorded at the sessions for this LP, and that one did appear on a compilation CD called AN UPTOWN CHRISTMAS - have yet to catch up with it. 4) Lytle, Johnny – The More I See You (Harry Warren & Mack Gordon). From “The Loop” (BGP reissue; originally on Tuba). Recorded 1965. Lytle – vibes; Wynton Kelly – piano; Milt Harris – organ; Bob Cranshaw or George Duvivier – bass; Peppy Hinnant – drums; Willie Rodriguez – congas. Lotsa folks guessed the artist and song so won't say much more here other than to say this is a fun two-fer CD, great uncomplicated swinging fun. Oh and I have to underscore one other thing: that was the great Wynton Kelly swinging on piano (and swing he did)! 5) Boswell Sisters, accompanied by the Dorsey Brothers – Doggone, I’ve Done It (Dave Franklin). From “The Complete Brunswick, Parlophone and Vocalion Bunny Berigan Sessions. Recorded 1932. Berigan – trumpet; Boswell Sisters (Connie, Martha, Vet) – vocals; Tommy Dorsey – trombone; Jimmy Dorsey – clarinet; Joe Venuti – violin; Martha Boswell – piano; Dick McDonough – guitar; Artie Bernstein – bass; Stan King – drums. Well here's the Bozzies, and the compilation from which I took this piece: I just love the feel of this one - virtuosic singing and playing but in the service of sheer fun and communication with an audience. Timeless virtues. Quite a lineup of talent. 6) Walden, Donald – Double Talk (Howard McGhee/Fats Navarro). From “Focus: The Music of Tadd Dameron” (Emanon). Recorded 2002. Walden – tenor saxophone; Cassius Richmond – arranger, alto saxophone; Ernie Rogers – baritone saxophone; Dwight Adams – trumpet; Vincent Chandler – trombone; Kenn Cox – piano; Rodney Whitaker – bass; Bert Myrick – drums. One of the more obscure recordings to most people, I suspect. As I understand it Walden was a legend on the Detroit jazz scene, helping to keep the flame burning until his death in 2008. You can read more about him here: Donald Walden. Rather poignant that his friend and collaborator Kenn Cox died right around the same time (and yes that's the same guy who released two dates on Blue Note back in the day as Kenny Cox, with the Contemporary Jazz Quintet). I would agree that there is some looseness in the ensembles, and some longeuers in the solos here and there, but overall I find this to be playing and especially arranging of the highest caliber. Always loved this piece of music too - although not one of Dameron's many great compositions, obviously the famous version was the one done by Dameron with Navarro for Blue Note. 7) Gourley, Jimmy – Repetition (Neal Hefti). From “Good News” (Bloomdido). Recorded 1981. Gourley – guitar; Lou Levy – piano; Marc Johnson – bass; Victor Lewis – drums. I love this - Gourley does have a "busy" style but it works for me in the context of this rather simmeringly frenetic little Hefti composition, recorded by Charlie Parker in 1947. Lou Levy's off-kilter piano style perfectly suits Gourley's unusual approach to guitar, and Lewis cements his reptuation as a dancer on the traps.

Sorry guys had hoped to post reveal by now but it's an unbelievably busy week at work - won't be able to do it until the weekend. Coming soon!

Interesting comments all - and interesting that for a lot of the tracks nobody has guessed the musicians' identities yet - that was one of my goals (to stump you on at least a few). Also nobody has hazarded a guess to the (admittedly very) loose theme. Are we ready for a reveal thread?

Bingo! Strong work. Bunny also has a brief but sweet trumpet solo right after the violin (you probably noticed, but I mention it since you didn't mention it specifically). I love the Boswells - they have quite a few tracks other than this one included in the Bunny Berigan Mosaic box (from which I took this track). Very creative, distinctive approach to the vocal sound of the day.

Well shucks I'm blushin'! Seriously though, glad you enjoyed it so much - it was definitely long labored over - in terms of pacing, variety, and the (albeit sort of loose) theme (about which I note nobody has hazarded a guess yet). A few specific comments in reply to yours Big Al: RE: Track 1 - I have yet to have anyone not be moved by this track - you've kept the string going! Track 2 - Finally someone liked it like I do. I won't reveal identity yet (you did eventually get the composition!). I don't think it's in print though I have seen it used for cheap (my copy was had that way). I'll make sure you get taken care of if necessary... Track 3 - It's such a beauty - the composition and the rendition! This one isn't in print though can be found (again I can help if needed) Track 4 - correct-a-mundo on the leader, and yes it's in print Track 6 - finally someone gets the tune! You're half right about the nature of the musicians... Track 7 - I THINK this is in print - if not again, I can help...not quite right on the tune, keep thinking! Track 8 - may end up being one of the biggest revelations of this BFT - it isn't anyone remotely well known, so you gotta put on your "obscure artists" thinking cap... Track 9 - Yep, you nailed the drummer...now who's on piano??? Track 11 - Again you nailed the tune - strong work! I also never cared for the original pop/dance rendition - but once I heard it done this way, it seemed so obvious this was a Herbie JAZZ composition of high caliber, just originally couched in radio-friendly guise - humbling (to me at least) to realize how much sometimes our impressions are influenced by the trappings (production etc) rather than the essence of a song. BUT: it ain't Herbie or any of the guys you mentioned who are playing on this rendition! If it helps, think much more recent...and the good news is, IN PRINT! Track 12 - No joke, this piece didn't fully "click" for me until the very end - something about the way it closes is almost magical, making everything that came before fall into place, at least for me, like the whole damn thing was setting up those last few seconds. Track 13 - interesting comments - the Italian connection isn't as far off as you might think (and yes that's something of a hint!)

Eh..COULD be..! I actually pulled this from a 1994 ECM CD release of this one though (cat no. 841 124-2), don't have the original vinyl.

Yes! I've often thought that if I ever had a jazz radio show, this would be the theme music I'd play at the intro. Just sublime.

I lucked out on a near minty copy of the Gil Evans Horo release, PARABOLA, in a record store a while back. I think I paid about $15 which is not cheap of course but pretty low given how hard to find this one is, particularly in good condition. Interesting, enjoyable music, but really odd recording quality (it's one of those deals where half the band sounds like they're in one room and the other half in another), though it sort of adds to the charm. The vinyl quality on my copy ain't too bad - a few pops but overall pretty solid, not real noisy.

Finally, we come to my number two man. His name? Number Two.

Well Dan you'll always be number 2 to me! Some general comments at this point: Wow - very surprised at the pretty much universally negative reactions to the guitar tracks, 2 and 7. I can tell fast guitar players ain't too popular 'round these parts. I'm not a fan of mindless speed and chops either but I think the guys on this BFT clearly have ideas, they just execute them at high speed...and frankly, does the world really need a legion of cookie-cut, classic-toned, slow moving, bluesy jazz guitarists in the Kenny Burrell mode? Or the next Grant Green? Not hardly, since there's only one KB and was only one Grant Green and IMHO most of the imitators are the aural equivalent of Sominex. But clearly the mileage here is varying! Re: Track 5 - what happened to all the folks I remember from here who listened to music recorded before 1940? Crickets chirping... Also very surprised Track 9 doesn't seem well liked either, but again I guess any rock influence is frowned upon on in most jazz circles. I think people will be surprised at the musicians though. A few added comments in response to yours specifically Dan: Track 8 - interesting you liked this. The influences here would not be those I would figure you'd be interested in based on what I know of your tastes - this has a VERY strong Ornette Coleman/Don Cherry flavor. But, I'm glad you dug it and suspect you'd enjoy the rest of the recording, too Dan. Track 10 - cool, seems to be shaping up as a favorite. Track 11 - recorded very recently (within the last few years), definitely not the 70s. Again, NOBODY recognizes the tune? It was one of the few pop hits by a jazz artist - hitting 71 on the main Billboard chart but made the top 10 in the UK, and in the US was number 6 on the "Hot Black Singles" chart and a big dance club favorite - there's a big huge hint. Track 13 - this tune and the style is about as (intentionally) far from Gene Harris as you could possibly get. I'm a huge Harris fan but that is some serious apples and oranges stuff right there - I don't think you've given it a fair hearing if that's the yardstick (though you still might not end up liking it of course). And still nobody has picked up the composition...it's on a mega-famous recording made in the 1950s made by a mega-famous pair of musicians, but done in a very different arrangement, if that helps. Not too much to add beyond that Dan, other than to say none of your guesses is correct and I don't think there were any "misfires" myself (but next time I'll make sure to get your OK on the final track list before it goes out ).

Regarding Track 4 - astute observations. Re: Track 5 - Thanks goodness, someone liked it! Just WORLD CLASS musicians of an earlier era, having a little swinging fun with a novelty vehicle. You hit the "Texas swing" thing on the nose (though the "fiddler" here wasn't usually in quite this bag) - Bob Wills and his Texas Playboys would have been all over this one. Jazz doesn't always have to be so serious. Track 8 - not the bass player's album, but again glad you liked it, I think it's wonderful - there is a nice dramatic tension sustained throughout. It does sound to me very similar to the music of a much more famous musician and his frequent front line partner (see Thom Keith's comments) but it isn't them.

Glad you're enjoying it Al! And nice detective work on tracks 4 and 7, Jim R! Surprised (and impressed) you actually owned the recording from which I pulled track 7 - pretty obscure - the disc I have has a different title actually and looks like this, but I think all the tracks are the same. Interestingly as I look at the cover art for the disc at the link you provided, the tenor sax player (present on only a couple tracks, and obviously not including the one I included in the BFT) is listed as "Dju Berry" which is pretty funny. You may already know the saxophonist's real identity, but I'll reveal it at the end of the discussion, as I view that as a further reason to pick up this disc (which I really enjoy).

Thanks for joining the fray, Thom! A few additional comments in response: Track 2 - many of your comments are right on target (obviously I LIKE it more than you and Jim R did, but I mean your comments about assembly/process - that may be a useful hint). This is a bit of a tricky one - all will be revealed soon enough, and I think you'll find it'll all make sense. Track 4 - I agree with you and Jim R- it is restrained - but, to me in a good way. As to the players, keep guessing, suspect people will come up with at least some of them. Track 7 - Pretty close as to the vintage...early 1980s. But not Stryker, not a Rollins tune, and not Keezer on piano. Track 8 - Yes Ornette (with Don Cherry) is who I hear in this, not Adderleys, but it ain't Ornette or Don (or the folks you mention). Track 9 - Regarding the drummer, you're really warm. Track 10 - What a strange coincidence! Not exactly a widely known recording! Track 11 - nope, off all around. Did you (or Jim R for that matter) recognize the tune? Famous one, by a very well-known, still active jazz artist, though done up quite differently than in its more popular rendition. Just a hint; figuring that out may help you with figuring out which recording it's from, and the players. Track 13 - Glad to hear this one seems to please so far, I love it. Someone needs to nail the composition at least - it's one I'm sure all or nearly all of you will know from a more famous recording (I think it's a long shot anyone will get the musicians, unless they happen to already have or have heard this - that's one reason I included the piece - this recording and these guys deserve more attention).

Thanks for getting the discussion rolling, Jim R. Some interesting observations and reactions. Couple comments: Track 1 - your comments thus far pretty much nail it, IMHO. Care to hazard a guess on the pianist? Track 3 - one of my favorite tracks from one of my favorite recordings - and I agree, a wonderful tune. I think you're right that with more time/listening you should be able to identify at least one if not both of the lead voices. Track 5 - glad I could help you check another one off your list (though I think you may be surprised when you learn some of the artists involved here) Track 6 - you're on the right track with your assessment, very astute Track 7 - as a "guitar guy" I would bet you may come up with this one eventually, if anyone does. I suspect that it's the composition itself you're recalling, not this particular performance, though I may be wrong Track 8 - this was the one track for which your comments truly surprised me - not the part about not personally caring for it much, rather the part about the Adderleys - I would never have predicted anyone guessing them! I figured though this was going to be one of the hardest tracks to identify; should be fascinating to see what others have to say Track 9 - I was figuring some would guess Corea based on the nature of the composition, the intervals and lilt to the melodic line - but I'll go ahead and take that off the table now - it isn't Chick (either the song or pianist). The comment about the era surprised me a bit; to my ears this one isn't particularly time bound, seems squarely in the more or less timeless piano trio mold, though admittedly with a rock-ish influence being imparted by the drummer (and yes that is a not so subtle hint). It's always fascinating that we each react so differently to a particular piece of music Track 10 - as with track 6, your comments suggest to me you've clearly picked up the scent, just haven't actually visualized the prey yet Track 12 - ah well - by this far into the lineup, you needed a bathroom break anyway, right? Track 13 - glad you enjoyed this one so much, also a favorite of mine. As with track 7, it's highly likely you've heard this composition before, just not done this way

I enjoy many of Barron's recordings as a leader but this is "the one" for me: Hutcherson is very "on form" and his duet with Barron on "For Heaven's Sake" is one of my favorite jazz ballad performances of all time. In terms of sideman gigs...well, just too many great ones to recount them all. I do trumpet the virtues of this recording whenever I can though, since it seems hardly anyone has ever heard of it and it's so damn good, including Kenny's contributions:'

Good timing to stoke the sales of the remaining copies of the Mosaic, perhaps: I see in this month's Downbeat that Mr. Stitt has finally made it to their Hall of Fame, voted in by the Veteran's Committee. ABOUT damn time!

Sorry I missed this BFT (and about 90 or so prior ones!). Looks like an interesting list. I put in a track from SUN AND MOON HAVE COME TOGETHER (needle dropped) on my last BFT (#72 I recall). Great, under-heralded group.

Looks like probably most folks planning to participate are now in, with download link access or disc in hand (though certainly if anyone else wants to jump in at this point, let me know)- so let's get the conversation going! I'd rather not provide any hints up front - I mean at 100 BFTs in I suspect you pretty much know all the usual traps and tricks. Did want to note that there is a loose theme I suspect some may pick up on - it's not fully unifying (i.e. not all tracks necessarily fit the theme)- but I think discernable (we'll find out soon enough). Keep it loose and lively, and remember the fun of all this is in the process, not whether or not you come up with the right answers!

PM to Thom Keith with download link. Not as of this moment but I hope to have it open sometime today!

PM sent Big Al!

PM to Spontooneous with download link I'm on it...

Been salivating over this one for a long time - I ordered my copy today (like some earlier posters I hit the panic button immediately when I saw the "Last Chance" subject line in the e-mail from Mosaic!). Really looking forward to hearing it.

It feels 100 times better than downloading an inaugural! PMs with the download link to you, NIS, and Stefan Wood

PMs sent to Dan Gould, Bright Moments, Jim R with download link, and to Hot Ptah to arrange disc mailing.