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Mary6170
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Posts posted by Mary6170
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Tony Williams: Spring
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23 hours ago, Spontooneous said:
I'll be dipped. Clearly I have to remedy that I have largely overlooked the Book of Angels series.
Looks like I also have to investigate the Spike Orchestra.
You will find many other worthy tracks, albums and artists if you investigate the Book of Angels series further. There are many other excellent tracks and albums in the Book of Angels series. I made tough choices to keep this Blindfold Test down to a reasonable length.
14 hours ago, randyhersom said:I had mentally prepared the note: This BFT has increased my appreciation of a musical figure who does not play on any of its tracks. Wasn't absolutely sure of the latter but Shazam led to the conclusion that it was all Book of Angels. I had done some listening to Astaroth and liked it quite a bit but didn't remember it well enough to identify. On a relisten much of it was more "adventurous" than the lovely track chosen.
It is true that I chose the least adventurous track on Astaroth. It was often difficult to decide which of several worthy tracks from an album to choose for the Blindfold Test. I also did not include several artists who recorded excellent albums in this Book of Angels series simply in order to keep the length of this Test from getting out of hand.
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1 hour ago, Hardbopjazz said:
You sure did. I will differently go and buy some of these recordings.
I have a few recordings of Zorn. "Naked City, Plays Ennio Morricone, News for Lulu, More News for Lulu and Transmigration Of The Magus."
I really liked a lot that you included in this blindfold test. So different from what I am aware of by him.
To me, Zorn's early works were often intense and harsh, compared to the more varied output of the last 12 years.
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On 4/27/2017 at 10:09 AM, Hot Ptah said:
Thank you for turning me on to the Book of Angels series. It is one of many areas of John Zorn's prolific output which I had approached by wondering where to begin. It is interesting to me that Zorn himself does not play on any of these songs. I will have to check out several of these albums further. I had never heard of many of these artists, but now I am going to look for more of their work, including their work outside of Zorn's world.
It is nice to hear music from the present time. Many of the Blindfold Tests have few, or no, tracks from after 2004, and here all of your selections are from after 2004.
It is interesting to me how very differently the various artists interpret Zorn's compositions. There is a lot of creativity shown here in terms of arrangements and musical concepts.
Thank you for a most intriguing Blindfold Test.
Thank you for your positive comments.
4 hours ago, Hardbopjazz said:I wasn't familiar with this music. I've seen John Zone live as well as others playing his music. I never heard any of this before.
I had hoped to present Zorn in a more varied context than many had known.
4 hours ago, JSngry said:I get that it's a Zorn showcase, but every item being minor key (and most featuring the harmonic minor-ish "Middle Eastern" modality made for a difficult continuous listen for me. I didn't offer comments becuase after the first few tunes, I just shut down. The differences in instrumentation helped, but not enough, I'm afraid.
Not a knock on the music or the presentation, just saying, after a while it all seemed like almost the same thing. Maybe that was the point?
Of course, you can say the same thing about bebop, or trad, or free, or anything, really. Real variety is a booger to get to, period.
Otherwise, I do appreciate your focus and applaud your keeping it new-ish. Also hope that the familial situation resolves itself without any unnecessary trauma, drama, and/or pain. We've all been there, so thoughts are with you and yours.
I deliberately wanted to show the great variety in creative approaches to the same basic material. To me, it is much like listening to Muddy Waters, Howlin' Wolf, B.B.King, Magic Sam, Otis Rush, Buddy Guy, Freddie King, Son Seals, Albert Collins, Albert King, and Luther Allison all playing 12 bar electric blues. While the basic material is close to identical, the individual approaches of the artists shine through and are more obvious because they are basically playing the same thing.
I knew that some people might not be open to it but thought I would take a chance.
Thanks for your nice personal comments, I appreciate it.
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I am sorry if I am posting this earlier than is usual. I have a situation with my extended family which means that I will have to fly out tonight, and may not be near a desktop computer for an unknown number of days. As I have saved the Reveal information on my desktop computer, I want to be sure that it gets posted before May 1. So I have to post it today. Otherwise it could be until May 5 or later when I could easily post it again.
This Blindfold Test has the theme that all of the music was recorded and released in 2005 or later.
Also, you will see that there is another theme. One artist composed all the music, but this artist plays on none of the music. He does not appear as a performer on a single track. He also did not arrange or produce several of the albums.
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Nova Express Quintet—“Yofiel,” from Andras: John Zorn’s Book of Angels, Volume 28 (2016)
Composed by John Zorn. Arranged and produced by John Zorn.
Kenny Wollesen-Vibraphone
John Medeski—Piano
Trevor Dunn—Bass
Joey Baron—Drums
Cyro Baptista—Congas, Percussion.
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Masada Quintet Featuring Joe Lovano—“Serakel,” from Stolas: John Zorn’s Book of Angels, Volume 12 (2009)
Composed by John Zorn. Produced by John Zorn.
Joe Lovano—Tenor Saxophone
Dave Douglas—Trumpet
Uri Caine—Piano
Greg Cohen—Bass
Joey Baron—Drums
3.
Spike Orchestra—“Gehegial,” from Cerberus: John Zorn’s Book of Angels, Volume 26 (2015)
Composed by John Zorn. Arranged by Sam Eastmond and Nikki Franklin.
Produced by Ben Greenslade-Stanton
Sam Eastmond—Trumpet (soloist)
George Hogg, Karen Straw, Noel Langley—Trumpets
Ben Greenslade-Stanton, Ashley Slater—Trombones
Dave Powell—Tuba
Mike Wilkins—Alto Saxophone, Clarinet
Vasilis Xenopoulos—Alto Saxophone, Flute
Paul Booth—Tenor Saxophone. Clarinet
Stewart Curtis—Tenor Saxophone, Clarinet
Erica Clarke—Baritone Saxophone, Bass Clarinet
Mike Guy—Accordian
Moss Freed—Guitar
Sam Leak—Piano, Keyboards
Otto Wilberg—Bass
Chris Nickolls—Drums
4
Jamie Saft Trio—“Aziel,” from Astaroth: John Zorn’s Book of Angels, Volume 1 (2005)
Composed by John Zorn. Arranged by Jamie Saft. Produced by John Zorn.
Jamie Saft—Piano
Greg Cohen—Bass
Ben Perowsky—Drums
5.
Ben Goldberg Quartet—“Chachmiel,” from Baal: John Zorn’s Book of Angels, Volume 15 (2010)
Composed by John Zorn. Arranged by John Zorn. Produced by John Zorn.
Ben Goldberg—Clarinet
Jamie Saft—Piano
Greg Cohen—Bass
Kenny Wollesen—Drums
6.
The Dreamers—“Oriel,” from Ipos: John Zorn’s Book of Angels, Volume 14 (2010)
Composed by John Zorn. Arranged by John Zorn. Produced by John Zorn.
Jamie Saft—Keyboards
Marc Ribot—Guitar
Kenny Wollesen—Vibraphone
Trevor Dunn—Bass
Joey Baron—Drums
Cyro Baptista—Percussion
7.
Roberto Rodriguez—“Ophaniel,” from Aguares: John Zorn’s Book of Angels, Volume 23 (2014)
Composed by John Zorn. Arranged by Roberto Rodriguez. Produced by Roberto Rodriguez.
Jonathan Keren—Viola, Violin
Salit Lahav—Accordian
Gilad Harel—Clarinet
Yaron Ouzana--Trombone
Itay Abramovitz—Piano
Omri Mor—Piano
Assaf Hakimi—Bass
Roberto Rodriguez—Drums, Percussion
Cheri “Pepe” Meir—Congas, Chekere
Amit Sharon—Frame Drum, Dohola, Doumbek, Darbuka
8.
Craig Taborn—“Machnia,” from Flaga: John Zorn’s Book of Angels, Volume 27 (2016)
Composed by John Zorn.
Arranged by Tyshawn Sorey, Craig Taborn, Christian McBride, and John Zorn. Produced by John Zorn.
Craig Taborn—Piano
Christian McBride—Bass
Tyshawn Sorey—Drums.
9.
Masada String Trio—“Bethor,” from Azazel: John Zorn’s Book of Angels, Volume 2 (2005)
Composed by John Zorn. Conducted by John Zorn. Produced by John Zorn.
Mark Feldman—Violin
Erik Friedlander---Cello
Greg Cohen—Bass
10.
Banquet of the Spirits—“Briel,” from Caym: John Zorn’s Book of Angels, Volume 17 (2011)
Composed by John Zorn. Arranged by Shanir Ezra Blumenkranz. Produced by Shanir Ezra Blumenkranz.
Cyro Baptista—Percussion, Vocals
Shanir Ezra Blumenkranz—Oud, Bass, Guimbri, Vocals
Brian Marsella—Piano, Harpsichord, Pump Organ, Vocals
Tim Keiper—Drums, Percussion, Kamel Ngoni, Vocals
11.
Zion 80—“Kenunit,” from Adramelech: John Zorn’s Book of Angels, Volume 22 (2014)
Composed by John Zorn. Arranged by Jon Madof. Conducted by Jon Madof. Produced by Jon Madof.
Frank London—Trumpet
Matt Darriau—Alto Saxophone, Kaval, Clarinet
Greg Wall—Tenor Saxophone
Zach Mayer—Baritone Saxophone
Jessica Lurie—Baritone Saxophone, Flute
Jon Madof—Guitar
Yoshie Fruchter—Guitar
Brad Marsella--Keyboards
Shanir Ezra Blumenkranz—Bass
Yuval Lion—Drums
Marlon Sobol—Percussion
12.
Secret Chiefs 3—“Akramachamarei,” from Xaphan: John Zorn’s Book of Angels, Volume 9 (2008)
Composed by John Zorn. Arranged by Trey Spruance. Produced by Trey Spruance.
Trey Spruance—Baritone Guitar, Electric Guitar, Autoharp, Piano, Organ, Synthesizer, Bass, Percussion
Jason Schimmel--Guitar
Adam Stacey—Clavinet
Rich Doucette—Sarangi
Monica Schley--Harp
Timb Harris—Violin, Trumpet
Anonymous 13—Viola, Voice
Tim Smolens—Cello, Bass
Shahzad Ismaily—Bass
Ches Smith—Drums, Congas
13.
Eyvind Kang—“Variel,” from Alastor: John Zorn’s Book of Angels, Volume 21 (2014)
Composed by John Zorn. Arranged by Eyvind Kang. Produced by Eyvind Kang, Randall Dunn.
Cuong Vu—Trumpet
Eyvind Kang—Piano, Electric Bass, Guitar, Janggu, Kacapi, Kamanchen, Korg Synthesizer, Moog Synthesizer, Oud, Percussion, Setar, Sitar, Viola, Violin, Voice
Randall Dunn—Moog Synthesizer, Voice
Hans Teuber—Tenor Saxophone, Clarinet, Flute
Skerik—Tenor Saxophone
Emma Ashbrook—Bassoon
Taina Karr-English Horn, Oboe
Josiah Boothby— French Horn
JungAh Song-Gayageum
Soyeon Park—Geomungo
Maria Scherer Wilson—Cello
William Smith--Cello
Jacob Yackshaw—Bass
Moriah Neils—Bass
Shahzad Ismaily—Bass
Dave Abramson—Drums, Percussion
Tor Dietrichson—Bongos, Congas, Clave, Guiro, Tabla, Triangle
Hidayat Honari—Tar
Hyeonhee Park—Janggu, Kkwaenggwari
Jessika Kenney—Voice
Maya Dunietz—Voice
14.
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Medeski Martin & Wood—“Asaliah,” from Zaebos: John Zorn’s Book of Angels, Volume 11 (2008)
Composed by John Zorn. Arranged by Medeski Martin & Wood. Produced by
Medeski Martin & Wood.
John Medeski—Keyboards
Chris Wood—Bass
Billy Martin--Drums
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2 hours ago, Spontooneous said:
Here goes...
1. Too many butterflies on the keyboard for me. The vibes are a nice splash of color, but the player's solo doesn't do much. A re-listen on headphones reveals a weird splash effect on the bass. Is this some new neo-lounge band?
2. Oh, but I like that drumming. The trumpet has a watery tone, but what a great flow of ideas. Dave Douglas? Donny McCaslin? Everything works here.
3. Is that a very distorted Rhodes or Wurlitzer keyboard? And in the left channel, is that an accordion? Rich Perry on tenor? The neo-second-line multi-trombone solo section is a delight. I'm in.
4. This could be any of hundreds of relatively recent trio recordings, and I probably have a weakness for each one. The pianist on this one is never too chops-y.
5. The clarinetist isn't fully engaged with the surroundings. He's listening to the voices in his head instead of the voices around him. But it's interesting enough that I wouldn't mind hearing more.
6. Exotica/private-eye stuff with nice guitar. More style than substance?
7. Paquito on clarinet? I like the violin. And another accordion.
8. Another new trio, newer than the trio on 4. The real story here seems to be in the rhythms, not the pitches, and I'm fine with that. Somebody will probably say that the drummer is too much, but I like the drumming.
9. First thought is Turtle Island String Quartet, but there's only a violin and a cello, and a bass. Quasi-Turkish, I guess. I like the violin solo better than the cello solo; that's a great violin tone.
10. A studio contrivance where one acoustic guitar can be louder than a whole group of percussionists. And a theme for this BFT emerges -- "Where did all these accordions come from?"
11. Very distorted organ? And a choir of four or five horns, on another piece that seems Middle Eastern. It turns into an eventful soundscape. I like that synthesizer doodle at the end.
12. Is that a violin? Marc Ribot on guitar? This is one of my favorite things here.
13. Too self-consciously "exotic" for me. A lot of musicians involved here, and I hope it was a good payday for them.
14. Very "chill," I guess (I'm notoriously un-chill). Rhodes and distorted guitar? Is that perhaps KC's Eddie Moore on Rhodes? A good way to end.
Thanks, Mary! Can't wait for the reveal.
You have listened very closely. Your comments show that.
You have guessed Dave Douglas correctly on Track 2. Donny McCaslin is not on this Track 2.
It is not Rich Perry on Track 3.
It is not Paquito D'Rivera on Track 7.
It is not Turtle Island String Quartet on Track 9.
It is not Marc Ribot on Track 12.
It is not Eddie Moore on Track 14.
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You have provided some interesting comments. Your guesses are not right.
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Herbie Hancock: Speak Like a Child
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1 hour ago, randyhersom said:
Based on the cellist, then it seems likely that #9 is the Masada String Trio. If so that's two John Zorn projects, perhaps there are more.
You are correct. It is the Masada String Trio.
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Gary Burton: Good Vibes
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On 4/2/2017 at 4:28 PM, randyhersom said:5 hours ago, Hot Ptah said:
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.
Very interesting comments. The music moved you at times which is good. Sorry but none of your guesses were right.
3 hours ago, randyhersom said:STONY always has a guitar - James Emery. The other thoughts I had for 9 were Erik Friedlander, Maxine Roach and Turtle Island, just because these instruments don't often play in this combination and this style.
For Track #9, you are right about Erik Friedlander. He is the cellist. You are not right about the other musicians.
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46 minutes ago, Hardbopjazz said:
I am stumped on every track. I will give it another listen.
It would be interesting to get your reactions to the music, even if you do not identify anyone.
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Kenny Dorham: Quiet Kenny
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Hank Mobley: Roll Call
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I had more than one theme in mind. That is all I want to say about it now.
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17 hours ago, randyhersom said:
This has taken me to several places I didn't even know existed!
1. Lush and evocative, with instrumentation associated with George Shearing's quintets, but it sounds more modern. Eddie Higgins comes to mind.
2. Blue Note feel. I'm thinking Lee Morgan, perhaps with Wayne Shorter.
3. I think I (barely) hear organ in this big band mix. That makes me lean toward Gerald Wilson. I definitely hear guitar and am pretty sure it's piano free.
4. It makes me think Jack Wilson, without being something I remember having heard of his.
5. Takes that Latin groove and smoothly and gradually elevates it to a whole other level of intensity. I think I hear both soprano sax and clarinet. I can't remember anything from Andrew Hill that fits this groove but that's about the right level of inside/out for both the piano playing and the group/composition.
6. Unusually distorted and processed guitars for a "jazz" date, but not the seventies fusion style. I haven't heard Bill Frisell record with vibes, but he might be capable of envisioning and carrying out the guitar sounds at the start.
7. Pretty sure I don't know who this is, bit on those rare occasions where I do, it's probably Herbie Mann. Nah. Eddie Palmieri is probably a better hail mary. Sounds authentically Latin and jazz aware at the same time. Probably newer than either guess.
8. Very accomplished piano over a very active bass and drums bed of rhythm. I'm thinking Hilton Ruiz perhaps influenced by the surrounding tracks.
9. All strings, but with so much drive you don't miss the piano and drums. I'm thinking this may be viola on top rather than violin. Mat Maneri?
10. Cello?, accordion and guitar featured in a tango groove with vocals and percussion. My chances of knowing this are a lot lower than my chances of loving it. Richard Galliano?
11. An electric Miles influenced rhythm bed gives way to a non-Hammond sounding organ and eventually a larger band. No instrument sounds like the leader. Maybe Gil Evans?12. This is surf guitar! More stretched out than the genre usually gets. I don't really think it's Dick Dale, but I don't have a better guess.
13. Reminds me of what little I have heard in the exotica genre. John Zorn has explored that genre some.
14. I'm guessing we have some kind of guitar synthesizer here. David Fiuczynski?
I like your comments.
Track 1. I would not have thought of George Shearing with regard to this track, but it is an interesting comparison. Eddie Higgins is not on this track. It is from a later date than any of George Shearing's recordings.
Track 2. I agree with the Blue Note feel. It is not Lee Morgan and Wayne Shorter.
Track 3. It is not Gerald Wilson.
Track 4. It is not Jack Wilson, but I understand why you would say that.
Track 5. Andrew Hill is an interesting comparison, but not correct. I like your comment about whole other level of intensity. I agree with that.
Track 6. Insightful comments about the guitar. It is not a 1970s fusion date. Bill Frisell is a good guess, but it is not him.
Track 7. You are making some excellent points. This is both authentically Latin and jazz aware. It is newer than any Herbie Mann. I think that Eddie Palmieri is still active, but it is not him.
Track 8. I agree that this is very accomplished piano. Not Hilton Ruiz.
Track 9..It is violin on top, not viola. Mat Maneri is a great guess, but it is not him.
Track 10. You do not have the instrumentation quite correct. This is an unusual album though. It is not Richard Galliano.
Track 11. That is an intriguing description of this track. It is not Gil Evans, but I can see why you would say that.
Track 12. Not Dick Dale, no.
Track 13. It is an exotica piece, and you have guessed right. It is a John Zorn project.
Track 14. There is no guitar synthesizer on this album. It is not David Fiuczynski.
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An attempted commercial album is McCoy Tyler's 1982 album on Columbia, Looking Out. It has synthesizers, vocalist Phyllis Hyman, and musicians such as Carlos Santana and Stanley Clarke. It was not a commercial success.
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Duke Ellington: The Ellington Suites
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The Youngquist book sounds interesting.
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Duke Ellington: Far East Suite
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I am presenting my first Blindfold Test. I have been listening to Blindfold Tests for some time without commenting very often. I hope that you will like this one. As soon as Thom Keith is ready to make the link active, we can begin. This is the link which Thom Keith sent to me. My Blindfold Test will show up as BFT # 157.
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Sadly, Track 4 is now a tribute to a musician who has just passed away, Arthur Blythe.
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This sounds like an interesting book at the very least.
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Wayne Shorter: Super Nova
BFT #158 discussion
in Blindfold Test
Posted
This Blindfold Test has a lot of excellent, enjoyable music, which I do not know. I cannot identify the musicians. But I enjoy listening to this Test.