DrJ

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Everything posted by DrJ

  1. I'd like this one if it's still available - PM sent.
  2. This thread was inspired by a question that someone asked me in another thread when I made a passing reference to the Verve Elites...I hope those who saw this post in that thread will indulge me the "double post," I've largely cut and pasted what I said there: The Elite series was sort of like Verve's version of the Connoisseur series - more obscure titles from the catalog. Like the Conns, there were several runs, but then they ended up folding the more obscure titles into their LP sleeve and other reissue series, which has meant that they do less and less obscure stuff, just a few mixed in here and there with the Getz, Gillespie, etc "mainstays" of their catalog (not that those aren't often excellent, but still...). For example, it's probable the recent Billy Mitchell reissue would have been an Elite. Also like the Conns, often they'd throw in as a bonus other obscure/unreleased stuff. The sound quality was uniformly excellent, and the packaging (well, except for the first few which came in a bizarre peek-a-boo slipcase that was totally unnecessary) was quite nice, with repros of the original artwork and labels as well as new graphics. The liners were often quite good too; original notes were always included, but they invariably added new stuff, often including things like interviews with the leader or a key player from the session in addition to the usual historical material. If it sounds like I was really fond of this series, it's because I was. I BELIEVE this is a full listing (in no particular order) - the first run were issued in September 1997 and the last in August 2000: Billy Bauer - PLECTRIST INTRODUCING JIMMY CLEVELAND AND HIS ALL STARS LISTEN TO ART FARMER AND THE ORCHESTRA Dizzy Gillespie - PERCEPTIONS (great J.J. Johnson here) Illinois Jacquet - THE KID AND THE BRUTE (w/ Ben Webster) Hank Jones - URBANITY Yusef Lateef - BEFORE DAWN (stands nicely with his roughly contemporary Savoys) Meade Lux Lewis - CAT HOUSE PIANO Paul Quinichette - THE VICE PRES Alan Shorter - ORGASM Jack Teagarden - THINK WELL OF ME CLARK TERRY Dinah Washington - THE BEST IN BLUES THIS IS TAL FARLOW Sonny Stitt - ONLY THE BLUES Harry Edison - THE SWINGER/MR. SWING (2 CD set)(Jimmy Forrest is basically co-leader) Lee Konitz - MOTION (3 CD version - as opposed to the replication of the original LP only for the more recent edition) JOHNNY SMITH The Jazztet - HERE AND NOW Lawrence Brown - SLIDE TROMBONE Art Blakey - BLAKEY (w/a bonus date led by Joe Gordon) Ray Brown - BASS HIT! Roy Eldridge - SWINGIN' ON THE TOWN The Jones Brothers - KEEPIN' UP WITH THE JONESES (originally on MGM) Walt Dickerson - IMPRESSIONS ON A PATCH OF BLUE (ditto) Buddy DeFranco/Oscar Peterson - THE GEORGE GERSHWIN SONGBOOK Modern Jazz Society - A CONCERT OF CONTEMPORARY MUSIC (John Lewis, Getz, Lucky Thompson, and others) HERB ELLIS MEETS JIMMY GIUFFRE (some nice Art Pepper on this one too) George Russell Sextet - AT THE FIVE SPOT Wynton Kelly - IT'S ALL RIGHT! Stan Getz and the Clarke-Boland Big Band - CHANGE OF SCENES Louie Bellson - SKIN DEEP Lalo Schifrin - DISSECTION AND RECONSTRUCTION OF MUSIC FROM THE PAST AS PERFORMED BY THE INMATES...(and it just keeps on going, you have to see the title to believe it, this is not a joke!) Ed Thigpen - OUT OF THE STORM (w/Herbie Hancock, Ron Carter, Kenny Burrell) Various - ELITE EDITION COLLECTORS' DISC One last thing to mention is that, unlike the Conns, it seems these were often given a very spotty distribution...often unless you snagged them in the first few months after issue, they disappeared, and in fact a few (the Lalo Schifrin and Johnny Smith come to mind) were some of the harder CDs I've ever tried to track down. As all are out of print now, you may have a task ahead of you to locate some of these if you're interested. Anyone else want to give up some love for this outstanding series? And if so, how MUCH love have you given in the way of hard earned cash in exchange for how many titles?
  3. Having waited many years for this one, I have to wonder WHY it is there isn't more buzz on the board about it (or, if there is, please direct me to it!). Perhaps more than any other Mosaic, this one captures the exponential early growth of an artist, you can so easily hear - almost as though you're listening to a 33 1/3 record played at 78 - the rapid development of a signature style and artistic maturity occuring within just a few short years. Not to say that the earlier dates are greatly inferior, because they are outstanding, but just that you hear more and more Randy Weston coming through with each session. UHURU AFRIKA and HIGHLIFE contain by far the most "mature" Weston music in my view. The "climax" piece on UHURU, "Kucheza Blues," always brings tears of joy to my eyes and a lump to my throat. If you can listen to this music without moving and smiling, you are just not human! It may be deeply infused with the spirit of Africa, but I also view this as universal, good feeling music. Outside of those, my next favorite session is the previously unreleased session. Man, what were they thinking not putting this one out? I love the fact it provides more exposure to Cecil Payne, too, who seemed to get no respect in that era - I would guess if you did a tally, he would come up on unreleased sessions more often than any other saxophonist, kind of like Kevin Costner used to get axed from films all the time before finally "making it" (although in his case, Hollywood should have stayed the course...). Hell, though, everything in this box is wonderful - the early Jubilee trio session, the rightfully legendary LITTLE NILES and AT THE 5 SPOT...just wonderful. Anyone else excited? I also have to say I think Ron McMaster did a fine job on this one (I find the sound much improved compared with the first two Selects, far warmer and less harsh sounding).
  4. I haven't posted here in a long time but after receiving the standard CD in the mail from Amazon and doing some listening over the past couple of days, just wanted to say JOB WELL DONE! I'm loving this. Beyond the super-cool takes on the Patton tunes and the nice original, it was a very inspired choice to cover Paul's recent masterpiece ballad "My Valentine." You pro musician types just amaze me, the way you can pull off a ballad like this one, done at such a slow tempo, without having the whole damn thing just fall apart. Smoldering and wonderful. Big John's been my favorite of the classic era organists for a long time, and to have him saluted in such fine fashion is like a wonderful late Christmas present. Now I probably gotta take the plunge for the DVD to get the extra tracks!
  5. Jim Hall R.I.P.

    Sadly I suspect you're right. I've very bummed about this - never even knew the box existed until it was already sold out, and I'm a huge Hall fan. One of the high points of my life was seeing him live (trio) at the Vanguard in NYC a few years back. For what it's worth, I just sent an e-mail message to Mosaic Records, suggesting that maybe they could issue this material as a Select or some other set (coolest to me would be a set including the original recordings issued on the 1975 LIVE album along with the 3 CDs of new material - with state of the art mastering by Malcolm Addey or Kevin Gray or someone like that - but I'd settle for just the previously unreleased stuff!). Now that Hall is gone in particular I would think it's not out of the question that Mosaic would potentially have interest in something like this - something to honor his legacy (true there was the Desmond/Hall set they issued previously but that was a LONG time ago). I can't think of any better Hall recordings for Mosaic to consider issuing - the original LIVE album is desert island material and from all I've read by people who've heard the new box, it sounds like the rest of the recordings are just as fine. I would think it should (?) be relatively simple for Mosaic to contact the folks in charge of Hall's estate to talk licensing for the previously unissued stuff, at least - in some ways it would likely be easier than dealing with a label. Anyway I post this here because I figure maybe if other people send Mosaic the same suggestion, there'll be some momentum built. I never knew about this box set. Does anyone know of a place where I can get a copy? I got turned onto the Electra/Musician "Live!" LP years ago and I'd love to get this completed concert. I'm in the same boat as you Kevin - never even knew it existed until it was long gone. (BTW the LIVE album was on A&M/Horizon, not Elektra/Musician). Ah well - meantime tonight I've been revisiting the LIVE album on the original A&M/Horizon vinyl. What a remarkable recording.
  6. I'm listening to my copy right now, preordered from Amazon and they came through quickly. Only into the first lengthy track so far, "There Will Never Be Another You," and I am DIGGIN' this...wow - MUCH better sound quality than I anticipated, and the improvising is TOP FLIGHT on this track. Grant Green just finished his relaxed, swinging solo - which he built and executed like a master, even at this early point in this career. Bob Graf will turn out to be something of a revelation, if he's this good throughout. Excellent liner notes by Bob Blumenthal (who many probably know grew up in St. Louis - I went to med school there, so it's a lot of fun to mentally picture the area he's talking about where the club was, been there many times), with some great rare photos. Very, VERY happy so far! Suspect there will be a lot of smiling faces around here when copies arrive.
  7. This idea occurred to me while listening to COUNTRY ROADS AND OTHER PLACES last evening. I must start by saying that I'm by no means a mega-Burton fan, but I do find that during this period he was really saying something worth hearing (I'm also a huge fan of his slightly earlier work with Stan Getz although there's not enough of it!). The compositions are nice, too. And the supporting casts were so great - Swallow, Haynes, Hahn, Coryell, etc. The middle to later sessions from his tenure on the label, like COUNTRY and DUSTER were also arguably the signal of the birth of "fusion" - or at least one kind of fusion - in its earlier, in my view mostly positive sense. The earlier stuff signified one of the only fresh new voices on the vibes in the post-bop era. Come to think of it, Mosaic has NO sets of any vibraphonist leaders' dates. Time to remedy that! The final thing that would make this a nice box is that many of the sessions have been hard to find or never issued on CD. I have some of the Koch reissues of certain sessions, and they are remastered well enough, but I suspect Mosaic could do a better job with someone like Addey at the helm, and it would be nice to have a LOT better documentation and liner notes than Koch gives you. Now I'm no expert, but just based on what's in All Music we'd have: 1961 New Vibe Man in Town 1962 Who Is Gary Burton? 1963 3 in Jazz (just the Burton part) 1963 Something's Coming 1964 The Groovy Sound of Music 1966 The Time Machine 1966 Tennessee Firebird 1967 Duster 1967 Lofty Fake Anagram 1967 A Genuine Tong Funeral 1968 Gary Burton Quartet in Concert [live] 1968 Country Roads and Other Places We all know AMG is rife with errors, so feel free to jump in and correct or add other sessions if you're in the know. What do other people think about this?
  8. The Nessa Juggernaut rolls on

    Yes indeed, and I quickly acted on that message - I've been running way behind the Nessa juggernaut, panting (and drooling), and this gave me a good excuse to catch up! Picked up BEFORE THERE WAS SOUND, Charles Tyler, Bradford and the Spontaneous Music Ensemble, Eddie Johnson, THE MISSING LINK, Vonski SERENADE AND BLUES...yeah I spent too much but hey, it's only money and think of how much I "saved"...
  9. Mainstream Records

    This one I just picked up last weekend. I really like it - I mean the recording itself is a bit wonky (kind of murky with the rubbery bass noted prevously), but musically, it's excellent. A nice companion to the Hutcherson/Land collaborations on Blue Note. And here's an old favorite I've enjoyed for years: The Japanese concert (2 CDs) has been issued also by Columbia/Legacy and by Mobile Fidelity. I have both and while the Mobile Fidelity is a little more warmly mastered and my preferred version, both are quite nice (and unfortunately hard to find); here's what the cover art looks like for these:
  10. Carmen McRae's tribute to Vaughan

    Rather than start I new thread I dredged up this older one dealing with McRae's music...count me as an unequivocal fan. I love the older stuff but I tend to gravitate more toward her later recordings. I agree with Larry that on an off/tired day the mannerisms could fully overtake the music, but when she was on, wow - a true original. The Sarah tribute is one of my favorites for sure. In fact I first heard McRae via the song "Sarah" from this tribute, which was included on an RCA/Novus sampler disc (included with some jazz magazine as I recall, maybe Jazziz) and flipped - and the rest is history. Anyway main reason for posting is to put in a good word for another later period McRae CD - ANY OLD TIME (Denon). Recorded in 1986, this is just stellar. While some old chestnuts are covered, there are also a few unpredictable choices in the track listing ("Tulip or Turnip" as the opener, anyone? How many people even know or cover this little gem, let alone lead off with it?), and she's in top vocal form. The band includes Clifford Jordan, captured firmly in the middle of a purple patch (think of the work he did on Art Farmer's BLAME IT ON MY YOUTH (Contemporary), recorded around this same time, and you'll know what I mean) and the under-heralded John Collins on guitar (that's another reason I'm fond of McRae - lots of love for guitarists!). I'd put this one up with SARAH, her Monk tribute, and SINGS THE GREAT AMERICAN SONGBOOK as my absolute favorites in her catalog. Pity it's so little known - I'm a big McRae fan and I'd never even heard of it until stumbling across a listing on eBay while searching for a different recording. Well worth a listen.
  11. BFT #101 THE REVEAL

    Yeah to my chagrin I similarly realized this past weekend that I actually owned the Dick Griffin track, as part of the Konnex release I mentioned earlier, THE EIGHTH WONDER AND MORE ("Now Is The Time" and several other tracks from the same album appear at the end of it as bonus tracks - I'd never gotten around to listening to them!). Yesterday I got the Buck Hill and Ahmed Abdul-Malik discs in the mail - both are fantastic. The more I listen the more I feel like "Little Bossa" should become a jazz/bossa nova "standard" - it's so simple yet lovely, up there with stuff like Jobim's "One Note Samba." People need to start covering this one! And I even had this album at one time....
  12. BFT #101 THE REVEAL

    Ah so it's Dennis Charles on the 2nd track, the Jazz Doctors' take on "Lonely Woman," not Ed Blackwell as I'd thrown out. Charles' playing is huge on that track. Interesting to read your comments on McHenry. You mention his ability to do a Warne Marsh imitation - I heard the Konitz/Marsh sound on "Melancholy Baby" for sure, at the start of the track, before he moves into what I'm guessing is more his own voice. Anyway fantastic BFT - thanks Thom for exposing me to some great musicians and music that I've been sleeping on. As I mentioned in my guesses (none of the artists nailed as it turns out!) several of these are immediate buys. I just ordered the recent vinyl reissue of the Noah Howard LP, available at the Jazz Loft among other places - very excited about this. Also ordered some of the others - Buck Hill, Billy Mitchell, Great Jazz Trio and Ahmed Abdul-Malik (that calypso really kept growing on me). For folks seeking the latter, be aware the entire recording was issued as part of this Prestige two-fer CD (bundling it with SOUNDS OF AFRICA):
  13. 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!
  14. BFT #102 Sign-up thread

    I'm in, download fine
  15. BFT #101 Discussion

    So now I'm trying to figure out track 1...it's driving me crazy. Thom mentions it was recorded at least a year before the earliest recording by Newk. I believe the earliest recording of "Don't Stop the Carnival" by Newk was in 1962 (for RCA - done around the time of the sessions for THE BRIDGE but for some reason only released initially on the European version of the LP - and later included in the Complete Rollins on RCA boxed set). So then I surmise this BFT track would have to have been recorded somewhere around 1960-61. But, I can't for the life of me figure out who it might be, after doing a ton of Google searching. I am though starting to wonder about whether this could be done by Carribean musicians - perhaps someone like Harold McNair, the Jamaican saxophonist who apparently recorded a calypso-jazz hybrid album (BAHAMA BASH) around 1960 (and whose later playing has often been said to be influenced by Rollins'). But, that's a total guess as I've never heard his calypso-jazz album. Another possibility could be Joe Harriott although what little I've heard by him was more edgy/avant garde than this track. Thom am I circling in on the right time period at least? Or perhaps were you in your post referring to Rollins' more well-known "initial" recording of this track in the 1970s?
  16. BFT #101 Discussion

    Re: Track 7 - which I dug from the first and find I am enjoying ever more - based on the instrumentation and the tip off earlier in the Discussion that the drummer is Paul Motian, I think it must be from this 2009 radio broadcast: http://m.npr.org/story/105122558 because I can't seem to find the track on any CD or LP on Google. Wonderful stuff - this definitely deserves a commercial release - and a great new discovery for me as I know nothing about the leader or the other two front line guys.
  17. BFT #101 Discussion

    OK here I go - and I'll start by apologizing for chiming in so late...we went on our end of summer family vacation right as the Discussion was hitting its stride, and just got back a few days ago. I haven't (obviously you'll see as you read) looked at anyone's responses - I got my butt kicked in terms of positively identifying any of these tracks or artists, but never has having said butt kicked been so much fun. Track 1 – A calypso – which normally, to be frank, I don’t much care for (most I find rather tedious and annoying rather than joyful - go figure), but this is sort of cool. Cello (I think), tenor sax, trumpet (the sort of plain, almost fragile tone reminds me of Blue Mitchell – but I doubt it’s Blue), bass (possibly the cello player doubling?)...even some clarinet in the opening and closing ensembles. Tenor player has a big sound, a la Johnny Griffin or even Mr. Rollins (but again doubt either of them). No real idea who it is, but I dig it OK, though not as much as many of the other tracks (read on). Track 2 – Ornette’s “Lonely Woman,” but by whom? String instruments again – maybe a BFT 101 theme emerging – cello and violin (or maybe viola) I think, plus tenor. The drummer is very cool – I heard echoes of Ed Blackwell (the mallets) in the drummer – don’t know who he/she actually is - maybe Blackwell is a possibility given the Ornette connection - but regardless I thought they pretty much stole the show. Busy without being fussy, perfectly sympathetic. While I like the opening and closing melody statements by the strings and tenor lot, for me pretty much all of the solos go on too long – the tenor and violin (or viola) start really strong and then sort of fizzle out into repetitive and not very compelling ideas – and for me the cello solo never really gets going. I think a great example of how sometimes modern improvised music could benefit from better self-editing/more concision – sometimes less is a lot more. Overall though I liked the energy and feel of the piece and I'd be interested to hear the whole recording this came from. Track 3 – Wow, a tuba, and more strings – definitely has to be a theme here - unusual instruments to hear in modern jazz (or strings in jazz). (NOTE: then as I went further down the track list that theme possibility vaporized…never mind!). I found on this one the sum was greater than the parts – I couldn’t really put it all together, all kinds of (quite) interesting bits all over but it didn’t come together for me as a complete entity. I suspect that could change with multiple listens though, probably the logic would emerge over time. Definitely intriguing, not run of the mill, and worth returning to in that regard. Track 4 – Recording quality may have let this one down a bit – pretty melody, gently swung, but hard to hear a lot of the instruments well (piano especially sounded like it was in a different room). Tenor has some interesting ideas but a rather braying kind of sound, not to my taste. Overall this just didn’t leave much of an impression on any level. Track 5 - Absolutely beautiful piano trio piece - melodic and lilting but without being mushy, had an edge to it. Excellent bass and drum solos as well. Pianist has a very urbane approach, a refined touch. I have no idea who it is but this is an immediate buy once I find out. Also will be keen to find out who wrote this lovely little ditty. I’ve been humming it for days. Track 6 - Also LOVED this one - at first when the vocals entered I was a little jarred (and bummed) - and I still find the vocals pretty much completely superfluous here - but the piece is very appealing (it sounds vaguely familiar but I don't know if I've actually ever heard it) - the melody sings already, no lyrics needed. Loved every one of the solos - tenor huge toned, interesting ideas, trumpet big and open and warm and creative. Is this Nancie Banks and her orchestra? It’s on the same high level as her stuff. Regardless, this was fantastic. Another immediate buy. Track 7 - This was fascinating. It's an old standard but I can't for the life of me place which one (NOTE: ah, yes, after reading the Discussion to this point now I see, "My Melancholy Baby," of course). The tenor player especially early in the solo sounds like someone with a healthy respect for and understanding of Lee Konitz - was wondering in fact if it was Lee on tenor for a while, but then I definitely didn’t think so as it evolved - too muscular a sound and then later in the solo the ideas didn't sound nearly as much like Lee. Really no idea who the trumpeter was (nice medium toned sound), or the alto (a little reedy/thin for my taste but nice). I’d buy this one for sure, three tracks in a row that REALLY hit for me. Track 8 – I like the composition a lot. I think this could be Horace Tapscott with one of his collectives – or someone duly influenced - but I’m just not sure. Scorching hot playing by all concerned, including the pianist – again Tapscott keeps coming to mind. The bass solo near the end was just wonderful – not only the playing, but the way it comes as something of a surprise, and helped cool things down before the recapitulation of the theme. I would buy this as well. Four great ones in a row now, I’m happy as a pig in… Track 9 – I feel like I should know this tune – probably an old chestnut but I can’t place it. I liked this fine, though it felt almost casually tossed off and a little strident in places – don’t really feel like I need to hear it again. Track 10 – I VERY much liked this piece, it sticks in the head and has that “so simple it’s profound” thing that a lot of Monk’s compositions have (though without the angularity). The tenor has a wonderful tone and really swings hard, sustaining interest over the course of a quite long solo. The piano is great too, hot and lyrical simultaneously…I’ll throw out a (desperate) guess and say it might be James Williams, but really don’t have any idea who it is. Well anyway this is yet another one for my shopping list, once I get a clue as to who it is (none at the present – I’m gonna learn a LOT on this reveal). Track 11 – This BFT is looking like a complete strikeout for me in terms of knowing any of the tracks or artists with certainty…but, clueless as I continued to be, I really enjoyed this, nice gritty bop. Tenor player reminded me of Von Freeman, the odd tone and quirky phrasing and strange combination of old and new ways he embodies, but I say what without any certainty at all. If it did happen to be Freeman on tenor maybe a Chicago guy on piano who goes back just as far, say John Young? Track 12 - A nice, unexpected way to end BFT 101. And again, no idea who it was, though it sounds like early Earth, Wind and Fire fused with a smoking jazz soprano solo and (if my ears don’t deceive me) some South African rhythmic undertones. I am striking out so badly with identifying performances and artists that I couldn’t even find this one out by Googling the lyrics, for goodness sake. I’m not sure if this piece would wear well for me over time but I'm digging it for now - it was a great cherry on a very rich, rewarding sundae. (NOTE: after finishing my comments and then reading others' comments in the Discussion, including the ID for this one, I am mightily surprised - I have only one Griffin recording, THE EIGHTH WONDER AND MORE on the Konnex label, and it sounds NOTHING like this...and wow, Clifford Jordan on soprano - no wonder I dug the solo so much!). Going to read others' comments here now (UPDATE: just did, and at least I now see others are also struggling with identifying most of the tracks). Very much looking forward to the reveal on this one, time to be SERIOUSLY schooled. Thanks for a killer BFT, Thom, this one will expand my horizons.
  18. 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.
  19. BFT 100 reveal thread!

    Happy to help if needed
  20. BFT #101 Sign-up

    Two things: 1) The BFT 100 reveal thread is now up and running so no need any longer to defer starting the discussion for BFT 101, Thom (but thanks)! 2) Count me in for BFT 101 - download is fine
  21. BFT 100 reveal thread!

    Unfortunately my knowledge of the Boswells begins and ends with the Berigan Mosaic set! Sort of a shame based on the music in the box. I'll be watching with interest to see if anyone else has suggestions. You're welcome!
  22. BFT 100 discussion thread

    Sorry for the delay, folks. The REVEAL thread is now up and running: BFT 100 reveal thread
  23. BFT 100 reveal thread!

    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!
  24. BFT 100 discussion thread

    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!
  25. BFT 100 discussion thread

    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?