Mary6170

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About Mary6170

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  1. I feel vindicated

    While I enjoy full albums, I recognize that many do not. I think that those who do not are finding more and more options to make it easier for them to listen to single songs, with today's technology and music delivery services. No one will be prevented from listening to a full album, but those who do not want to listen to full albums will find it easier.
  2. This surprised me. I added the bold and underline. Don Was: I actually got the job because of Gregory Porter. I had gone to see him when I was in New York producing a record in 2011. I had a night off and went to a club near Harlem called Smoke and saw Gregory Porter. The next day I was having breakfast with an old buddy of mine named Dan McCarroll, who I knew as a drummer years earlier. He became the president of Capitol Records, and when we were having breakfast I asked him if Blue Note was still part of Capitol. Then I said that if it was, he should sign Gregory Porter. Unbeknownst to me, he told that they were considering shutting Blue Note down. With Bruce Lundvall retiring, no one quite knew how to push the aesthetic forward. There was some talk about making it a website that just sold catalog and Blue Note t-shirts. I think that anyone that walked in with an idea that day would’ve been offered the gig. [laughs] It was just chance that I brought this up, and he offered me the job over breakfast. It was irresistible, man.
  3. BFT 169 Reveal

    1. Hal McKusick—Minor Matters, from Hal McKusick Quartet (Bethlehem, 1955) Composed by Manny Albam. Hal McKusick—Alto Saxophone Barry Galbraith—Guitar Milt Hinton—Bass Osie Johnson—Drums I was drawn to this Track by the sound of Milt Hinton’s bass playing. 2. A. Spencer Barefield—Escape From Bizarro World, from After The End (Sound Aspects, 1989) Composed by A. Spencer Barefield. Recorded in 1987. A Spencer Barefield—Classical Sympathetic Guitar, 12 String Acoustic Guitar Oliver Lake-Alto Saxophone Hugh Ragin—Trumpet Richard Davis—Bass Andrew Cyrille—Drums I am surprised that this track was identified so completely. 3. Fats Waller—Alligator Crawl, from The National Jazz Museum In Harlem Presents: The Savory Collection, Volume 1 Recorded on October 22, 1938. Released in 2016. Composed by Fats Waller Fats Waller—Piano I imagined that with all of the attention given to the long awaited release of the Savory recordings, that someone would know this Track well. Perhaps with the release of Savory recordings on Mosaic Records, more members here will become familiar with them. 4. Mulatu Astatke—Tezetaye Antchi Lidj (My Unforgettable Remembrance), from Ethiopiques, Volume 4 (Buda Musique) Originally released in September 1972 on the LP "Yekatit - Ethio Jazz / Mulatu Astatke featuring Fekade Amde Meskel" (AELP 90). Reissued on CD in 1998. Composed by Mulatu Astatke Fèqadu Amdé-Mesqel--Flute Andrew Wilson--Guitar Mulatu Astatke--Keyboards Fèqadu Amdé-Mesqel, Mogus Habte—Tenor Saxophones Yohannès Tèkolla--Trumpet Giovanni Rico--Bass Tèmarè Harègu--Drums This entire CD is very enjoyable, in my humble opinion. 5. https://upload.wikimedia.org/wikipedia/en/c/cc/The_Case_of_the_3_Sided_Dream_in_Audio_Color.jpg Rahsaan Roland Kirk---Echoes of Primitive Ohio and Chili Dogs, from The Case of the 3 Sided Dream in Audio Color (Atlantic, 1975) Composed by Rahsaan Roland Kirk. Rahsaan Roland Kirk—Trumpet, Tenor Saxophone, Bass Saxophone, Flute, Strichaphone, Manzello Pat Patrick—Baritone Saxophone Cornell Dupree, Keith Loving and Hugh McCracken—Guitars Arthur Jenkins, Hilton Ruiz and Richard Tee—Keyboards Francesco Centeno, Metathias Pearson and Bill Salter—Bass Sonny Brown, Steve Gadd and John Goldsmith—Drums Lawrence Killian—Congas Ralph McDonald—Congas and Percussion This was finally identified. I imagined that everyone had this album and that this would be too easy to identify. It’s one of the joys of becoming old that I seem to have outlived the collective memory of current jazz lovers. 6. Harry James—B-19, from Record Sessions ’39-’42 (Hep, reissue released 1999) Recorded on December 11, 1941, at the band’s first session after Pearl Harbor. Composed by Leroy Holmes. Arranged by Harry James. This song was originally the B side of the 78 rpm single, I Don’r Want to Walk Without You, Columbia 36478, released on January 2. 1942. Helen Forrest was the vocalist on the A side. Harry James—Trumpet soloist. Claude Bowen, Nick Buona, Al Stearns—Trumpets. Hoyt Bohannon, Harry Rodgers, Dalton Rizzotto—Trombones. Claude Lakey, Sam Marowitz—Alto Saxophones. Corky Corcoran—Tenor Saxophone soloist. Clint Davis—Baritone Saxophone, Alto Saxophone Alex Pevsner, Sindell Kopp, Leo Zorn—Violins Bill Spear—Viola Al Frieda—Cello Al Lerner—Piano Ben Heller—Guitar Thurman Teague—Bass Mickey Scrima—Drums This Track has one of my favorite Harry James solos. 7. Lew Tabackin—Autumn Sea, from Rites of Pan (Inner City, 1979). Composed by Toshiko Akiyoshi. Lew Tabackin—Flute Toshiko Akiyoshi—Piano Bob Daugherty—Bass Shelly Manne—Drums Musicians sometimes get put into categories by critics and listeners. I am struck by how well Shelly Manne fits in on this 1979 recording, which is outside of what many people might think of, when they think of Shelly Manne. Lew and Toshiko should not be forgotten, or somewhat dismissed, in my humble opinion. 8. Hermeto Pascoal & Big Band—O Som do Sol, from Natureza Universal (Scubidu, 2017) Composed and Arranged by Hermeto Pascoal Andre Marques—Big Band leader and musical director Bruno Soares, Raphael Sampaio, Diego Garbin, Reynaldo Izeppi, Rubinho Antunes—Trumpets Paulo Malheiros, Fabio Oliva, Sergio Coelho, Bruno Pereira—Trombones Jaziel Gomes—Bass Trombone Jota P., Do De Carvalho—Alto Saxophones Raphael Ferreira, Josue Dos Santos—Tenor Saxophones Cesar Roversi—Baritone Saxophone Tiago Gomes—Piano Fabio Leal—Guitar Fabio Gouvea-Electric Bass Cleber Almeida-Drums Fabio Pascoal-Percussion I was surprised that this 2017 recording was released under Hermeto Pascoal’s name. It is not what I associate with him. 9. The Great Jazz Trio—Favors, from At The Village Vanguard (East Wind, 1977) Recorded in February, 1977. Composed by Claus Orgerman. Hank Jones—Piano Ron Carter—Bass Tony Wiliams—Drums The entire album is quite good. This specific Track has always seemed memorable to me. 10. Bruce Fowler—Floatin’, from Entropy (Fossil Records, 1993) Composed by Bruce Fowler. Bruce Fowler—Trombone Walt Fowler—Trumpet Phil Teele-Bass Trombone Suzette Moriarty—French Horn Steve Fowler—Alto Saxophone, Flute Albert Wing—Tenor Saxophone Kurt McGettrick—Baritone Saxophone, E Flat Contrabass Clarinet Billy Childs—Piano Tom Fowler—Acoustic Bass, Violin Chester Thompson—Drums Bruce Fowler is joined here by his Frank Zappa band mates from the 1970s (his brother Tom Fowler and Chester Thompson) and by his Frank Zappa band mates from the 1988 Zappa large ensemble group, which released “Broadway the Hard Way,” “The Best Band You Never Heard in Your Life,” and “Make a Jazz Noise Here” (his brother Walt Fowler, Albert Wing and Kurt McGettrick). Bruce Fowler and Walt Fowler may have been in a 1970s Zappa band together too. For this album, Bruce goes his own way and it is not much like a Zappa album. 11. Cameron Graves—Isle of Love, from Planetary Prince (Mack Avenue Records, 2017) Composed and Arranged by Cameron Graves Cameron Graves—Piano Kamasi Washington—Tenor Saxophone Philip Dizack—Trumpet Ryan Porter—Trombone Stephen “Thundercat” Bruner—Bass Ronald Bruner, Jr.--Drums Cameron Graves is the pianist on Kamasi Washington’s “The Epic.” I thought that his piano solos were the best thing about that much publicized album. I was interested in what Cameron Graves would record on his solo album. The rest of this 2017 album is in the style of this Track. This is somewhat disappointing to me. The compositions and playing impress me as being bombastic. On the plus side, there is a lot of energy here. Perhaps his future albums will be better. Cameron Graves was more restrained and tasteful on “The Epic”, to me. Thank all of you for listening to my Blindfold Test and for providing such thoughtful comments.
  4. Thank you for the compliment. Track #7 is not James Newton. I agree with you about the quality of the flute playing. Track #8 is not who you guessed. I have never heard of who you guessed. Track #10. I also like this very much. You may be surprised when you find out who it is. Track #11. You have made some interesting comments, many of which I am in general agreement with. I included this Track partly to discover what others thought of it. I have mixed feelings. I have heard the leader on sideman recordings where I liked his playing better.
  5. tkeith, with the identification of Track #2 by another member, I can now tell you that what you thought was a strange-ish bass sound which could be Abdul Wadud on cello, is actually Richard Davis playing bass.
  6. I listened to the entire album just before posting this Blindfold Test and was reminded of how good it is. The second version of "The Entertainer" struck me this time as an exciting performance. "Portrait of Those Beautiful Ladies" and 'Freaks for the Festival" also struck me as more memorable than I had remembered. There are multiple versions of these songs on the album and there is at least one take of each song which strikes me as excellent. Opinions would probably differ as to which version of each song is preferred.
  7. The Ethiopian artist on #4. Mulatu Astatke, has several albums of his own. Track #5 has been identified as Rahsaan Roland Kirk, “Echoes of Primitive Ohio and Chili Dogs.”
  8. Track #4 is Ethiopian and has just been identified by member corto maltese.
  9. You are very, very good at this. That is the track and artist. It is on Ethiopiques 4, a CD.
  10. You are correct. I did not think that anyone would know this album. Track #4 is Ethiopean. If it is on a "Spiritual Jazz' compilation, I do not know about that. Yes, you have identified the title of the Rahsaan Roland Kirk song, Track #5. Thanks for the live version. I enjoyed that.
  11. I am glad that you have listened. #4 is not from a South African muaician. This is not Winston Mankunku Ngozi. Now i want to hear his music. Did you listen to tbe next song, Track #5? It might be in your area of listening preference.
  12. http://www.kansascity.com/news/local/article208418419.html
  13. Did you see that Track 9, which you said is in your zone, is “Favors” by Hank Jones, Ron Carter and Tony Williams, The Great Jazz Trio at the Village Vanguard?
  14. 4. Sometimes it is good to go with your first impulse. 5. I wondered if everyone had this album and it would be too easy. I am very old so I may have outlived what is commonly known today. 6. The member with the lard container as his image has correctly identified the leader. To me, this unassuming Track has one of his better recorded solos. 8. None of those. You may fall out of your chair when you learn who it is. 10. The leader played in a rather famous large ensemble led by a legendary musician. He did not adopt the big band format for his solo effort. Oh you are correct. Hank Jones, Ron Carter and Tony Williams. This one particular track has always grabbed me somehow.