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About CardinalJazzFan

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  1. BFT 167 Discussion Thread

    Track 10 intrigues me after your comment. I do not know who is playing that way and is that good—and is current!
  2. BFT 167 Discussion Thread

    Track 10 is really good. The drummer is either Elvin Jones or someone who has listened to a lot of Elvin. I love the two saxophonists. It reminds me of some of Elvin’s albums in the 1968-72 period when he would have two excellent saxophonists in his band. Track 11: the trumpet player really knows his Miles Davis, really has Miles’ sound down cold. Could it be Wallace Roney? Who else is so close to Miles? The pianist and bassist don’t seem to have the right fee for this kind of music. They are rushing and have s kind of cold sound, which makes me think this was recorded after 2000.
  3. BFT 167 Discussion Thread

    Track 9 is one of my favorite tracks on this Blindfold Test. It starts with a brass choir of sorts, then a swinging vibes solo. The vibes player reminds me of Teddy Charles a little bit but has a smoother, softer attack than Teddy. The trombonist has a warm sound which reminds me of Willie Dennis. The saxophone player is odd, a unique conception on the instrument. Or else it's Lee Konitz on a day when he had the flu. This sounds like a 1950s to early 1960s West Coast jazz session. I find it immensely appealing.
  4. BFT 167 Discussion Thread

    I am jumping around on the remaining tracks, fitting them in between a lot of work at my office. Track 13 is such a fine track. I love both the pianist and bassist. This is top level playing. I am not able to identify them. The bassist sounds like a master who came up in the 1950s or 1960s. He has that combination of technique and sound that some younger bassists do not have, even if they are technically good. I am really interested in finding out who this is. My wild guess is John Hicks and Ray Drummond, but I don't think that is correct.
  5. BFT 167 Discussion Thread

    Here are a few more. Track 6. "Day Dream" by Duke Ellington and Billy Strayhorn, featuring a big tone tenor saxophonist with a lot of soul. I am going to guess Houston Person. I do not know who the other musicians are. This is a nice version of the song. Track 7. A vocalist singing a song with lyrics that verge on the pessimistic at times. I would be surprised if I have heard this vocalist before. I do not seem to recognize him. I like this recording. I think it is convincingly performed. Track 8. This is some type of tribute to the Miles Davis/Wayne Shorter/Herbie Hancock/Ron Carter/Tony Williams acoustic quintet of the 1960s. I know that there have been different tribute bands to that quintet, such as one in the 1990s with Wallace Roney substituting for Miles, playing with the other four. The trumpet player does not have Miles' tone or thought patterns for improvisation, but sometimes sounds here like he is imitating Miles' playing from the years of that quintet. The bass player is quite good, but does not sound like Ron Carter. He sounds like a top notch bassist. I do not know who it is. The tenor saxophonist, pianist, and drummer, could actually be Wayne Shorter, Herbie Hancock and Tony Williams. They sound very close to the originals. They are either those three musicians, or else they are musicians who have really studied their styles and can play very close to the original musicians. I like this recording very much. More later.
  6. BFT 167 Discussion Thread

    As usual these days, I am very busy at work. I will discuss a few tracks at a time, as I am able to listen to each several times. Track 1. Is this Vincent Herring? It is an exciting live track. The pianist has studied McCoy Tyner and has absorbed his style. It sounds like a more recent recording, maybe in the 2000-2010 period. Track 2. Is this Rahsaan Roland Kirk? If so, it must be a live album which I do not have. The circular breathing at the end of the track reminded me of Kirk. This is a saxophone player who came after Coltrane, as he once in a while plays a lick which would not have been possible without a knowledge of Coltrane. But this saxophonist plays for the maximum feeling, and does not try to play a lot of notes to attain technical goals. The electric pianist, guitarist and electric bassist reminds me of Stan Getz's band in the late 1970s, when he had Andy Laverne and Chuck Loeb with him. This is a very imaginative guitar solo within this style. I like the guitarist's approach very much, whoever he may be. Track 3. This is one of those historical recordings which sounds like it was recorded from a portable device in someone's lap. I can't hear any of the instruments very well at all, except for the saxophonist, who is very familiar. I cannot place the saxophonist, however. It is like having something on the tip of your tongue. Track 4. That is really excellent guitar playing. It is on the level of someone like Joe Pass. I do not know who it is. This is a great track. Track 5. Is this a one man band, one person playing everything on electronic keyboards? The drums sound very electronic. The lead instrument is not quite real sounding, as if it is an electronically programmed sound. If that is what it is, this is done well. The track has a lilting swing to it, and it sounds pretty natural, like it could be a small group playing together. It is an appealing tune. I do not know who performs in this area of musical expression. That is all for now. More to come later.
  7. Sign Up For a Blindfold Test in 2018

    I just read this thread and see that there are some months left open. I enjoyed presenting my first Blindfold Test a few months ago. I would like to present another one this year.
  8. So, What Are You Listening To NOW?

    As soon as I get into my car to go home from work, I am going to play Miles Davis, Filles de Kilimanjaro, because someone posted on my Facebook daily news feed that it had been released this week in 1969. I have not heard it in some time. I know that the thread is What Are You Listening to Now, but I will be driving when it starts playing, and I don't want to type and drive. "Officer, I was not texting and driving! I was not texting! I was typing on the Organissimo jazz forum!"
  9. BFT 166 Discussion Thread

    This is a massive Blindfold Test. It is very enjoyable, but huge in length and scope. I have been trying to get through all of it and do it justice in between working. With the end of the month approaching, I will present my incomplete thoughts. 1. This is an excellent pianist, who has blues feeling and modern technique both. Could it be Mal Waldron? 2. This is a very fun recording. I do not recognize any of the soloists, but they are all very good. 3. I love this track. It is a real barnburner of a recording. I will be interested to see who it is. I don't know who it is. 4. Sugar, but not a version I know. 5. Ode to Billie Joe, which was such a popular song one year in my elementary school. I am dating myself. I think that Harry Sweets Edison is playing on this track. I cannot identify the other musicians. 6. Bags Groove. The pianist is someone I have often heard. He has been on a lot of albums, but I just cannot place him. That is frustrating. 7. Everything Happens to Me. I have never heard this version. It is a mystery to me. 8. I have no idea! 9. I have no idea! 10. I like this kind of music, and have heard a lot of it, but alas, not this song. 11. This is a very good blues performance, by an artist unknown to me. We like our blues in St. Louis. I am a little bit surprised that I have never heard this before. 12. It is a variation on the Let The Good Times Roll song. I do not know the artists, and I thought I knew this style of music quite well. You are good at stumping me. 13. I have no idea! 14. This is Hi Fly composed by Randy Weston. I do not know who is playing it here. I like this version. I have always liked that composition. 15. I have no idea! 16. Misty, but again, I do not know who is playing it. I have heard many versions of Misty, but not this one. 17. I have no idea! 18. This is an interesting version of Now's The Time, much later in time than Charlie Parker. I do not know who it is. I did poorly at identifying musicians. I like this collection very much. I can feel the effort that went into selecting and programming it for our maximum enjoyment. The songs really flow in a sequence, like a good producer putting an album together. I think that this would be a three Lp set! One that I would often return to. I plan to play this collection for pleasure after this month is over. It will be so interesting to have the artists' identification when I do that.
  10. BFT 165

    Really? I did it from memory without playing my CDs. I should have worked a little harder!
  11. BFT 165

    I have been very busy with work in recent weeks. I am late to this discussion. I can identify one song. Track 2 is Hadley Caliman, 'Cigar Eddie', the opening track from his 2009 album, Straight Ahead. The musicians are: HADLEY CALIMAN - tenor saxophone THOMAS MARRIOTT - trumpet ERIC VERLINDE - piano PHIL SPARKS - bass MATT JORGENSEN - drums
  12. Blindfold Test #163: Reveal

    1. Song Title: Green Night and Orange Bright Artist: Tom Talbert. Album: Bix Duke Fats Label: Modern Concepts Year of Release: 1956 Composer: Tom Talbert Arranger: Tom Talbert Conductor: Tom Talbert Alto Sax (solo): Herb Geller Alto Sax and flute: Joe Soldo Tenor Sax and Clarinet: Aaron Sachs Baritone Sax and Bass Clarinet: Danny Bank Trumpet: Joe Wilder Trombone: Eddie Bert French Horn: Jim Buffington Guitar: Barry Galbraith Piano: Claude Williamson Bass: Oscar Pettiford Drums: Osie Johnson This is the only Tom Talbert composition on the album. All of the other songs are composed by Bix, Duke or Fats. 2. Song Title: Avalon Artist: Harry “Sweets” Edison Album: Edison’s Lights Label: Pablo Year of Release: 1976 Composer: Jolson/De Sylva/Rose Producer: Norman Granz Trumpet: Harry “Sweets” Edison Tenor Sax: Eddie “Lockjaw” Davis Piano: Count Basie Bass: John Heard Drums: Jimmie Smith I think that this track is a little bit surprising. It is a later example of Count Basie loosening up and playing without his usual restraint. When I saw him live in the mid to late 1970s, he never soloed like this. 3. Song Title: Limehouse Blues Artist: Phil Woods and Lew Tabackin Album: Phil Woods/Lew Tabackin Label: Omnisound Year of Release: 1981 Composer: Furber/Braham Producer: Bill Goodwin Alto Sax: Phil Woods Tenor Sax: Lew Tabackin Piano: Jimmy Rowles Bass: Michael Moore Drums: Bill Goodwin 4. Song Title: Tanjah Artist: Randy Weston Album: Tanjah Label: Polydor Year of Release: 1974 Composer: Randy Weston Arranger and Conductor: Melba Liston Producer: Randy Weston Piano: Randy Weston Oud, Arabic Narration: Ahmed Abdul-Malik (Soloist) Alto Sax, Piccolo: Norris Turney Tenor Sax, Flute: Billy Harper (Soloist) Tenor Sax, Soprano Sax, Clarinet: Budd Johnson Baritone Sax, Bass Clarinet, Flute: Danny Bank Trumpets, Flugelhorns: Ray Copeland, Jon Faddis, Ernie Royal Trombone: Al Grey Bass Trombone: Jack Jeffers French Horn: Julius Watkins Bass: Ron Carter Drums: Rudy Collins Conga, Kakabar: Azzedin Weston (Soloist) Conga, Spanish Narration: Candido Camero: (Soloist) Timbales, Marimba: Omar Clay Ashiko Drum: Taiwo Yusve Divall Percussion: Earl Williams 5. Song Title: Hello Little Girl Artist: Duke Ellington Album: Ellington Jazz Party Label: Columbia Year of Release: 1959 Composer: Duke Ellington Piano: Jimmy Jones Trumpet Soloist: Dizzy Gillespie Vocal: Jimmy Rushing Trumpets: Ray Nance, Clark Terry, Cat Anderson, Shorty Baker, Andres Ford Trombones: Britt Woodman, Quentin Jackson, John Sanders Saxophones: Johnny Hodges, Russell Procope, Paul Gonsalves, Jimmy Hamilton, Harry Carney Bass: Jimmy Woode Drums: Sam Woodyard 6. Song Title: Most Gentlemen Don’t Like Love Artist: Betty Carter Album: Now It’s My Turn Label: Roulette Year of Release: 1976 Composer: Cole Porter Vocal: Betty Carter Piano: John Hicks Bass: Walter Booker Drums: Eddie Moore I saw Betty Carter with John Hicks live, in the mid to late 1970s. They were great live. Then the next time I saw her live, she had Mulgrew Miller on piano. 7. Song Title: Boy Meets Horn Artist: Duke Ellington Album: The Duke Ellington Carnegie Hall Concerts: January 1943 Label: Prestige Year of Release: 1977 Composer: Duke Ellington/Rex Stewart Piano: Duke Ellington Cornet: Rex Stewart (Soloist) Trumpets: Ray Nance, Shorty Baker, Wallace Jones Trombones: Lawrence Brown, Joe Nanton , Juan Tizol Saxophones: Johnny Hodges, Otto Hardwicke, Ben Webster, Chauncy Haughton, Harry Carney Guitar: Fred Guy Bass: Junior Raglin Drums: Sonny Greer I have wondered if Lester Bowie was familiar with this track, or with Rex Stewart’s playing in general. 8. Song Title: Django’s Castle (All Mine Almost) Artist: Phil Woods Album: The Phil Woods Six “Live” From the Showboat Label: RCA Year of Release: 1977 Composer: Django Reinhardt Arranger: Harry Leahey Recorded live at the Showboat Lounge, Silver Springs, Maryland, November, 1976. Alto Sax: Phil Woods Guitar: Harry Leahey Piano: Mike Melillo Bass: Steve Gilmore Drums: Bill Goodwin Percussion: Alyrio Lima I saw Phil Woods live many times from the late 1970s into the 1990s, and he was never a disappointment. He was always a great live performer in those years, whenever I saw him. This entire 2 LP live album is excellent, in my humble opinion. 9. Song Title: Very Early Artist: John McLaughlin Album: Belo Horizonte Label: Warner Brothers Year of Release: 1981 Composer: Bill Evans Guitar: John McLaughlin I think that for John McLaughlin, this is uncharacteristically concise and simply beautiful. 10. Song Title: Open Beauty Artist: Don Ellis Album: Electric Bath Label: Columbia Year of Release: 1967 Composer: Don Ellis Alto Saxophone, Flute, Soprano Saxophone – Joe Roccisano, Ruben Leon Tenor Saxophone, Flute, Clarinet – Ron Starr Tenor Saxophone, Flute, Piccolo Flute, Clarinet – Ira Schulman Baritone Saxophone, Flute, Bass Clarinet – John Magruder Trumpet – Don Ellis, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart Trombone – Dave Sanchez, Ron Myers, Terry Woodson Piano, Clavinet, Electric Piano [Fender] – Mike Lang Bass – Dave Parlato, Frank De La Rosa Bass, Sitar – Ray Neapolitan Drums – Steve Bohannon Congas, Bongos – Chino Valdes Timbales, Vibraphone, Percussion [Miscellaneous] – Mark Stevens Percussion [Miscellaneous] – Alan Estes This was such an unusual sound in 1967, and it does not seem like it really influenced the later fusion music all that much. This era of Don Ellis seems unique to me. 11. Song Title: A.I.R. (All India Radio) Artist: Carla Bley Album: Escalator Over The Hill Label: JCOA Year of Release: 1971 Composer: Carla Bley Desert Band of Musicians: Trumpet: Don Cherry Violin: Leroy Jenkins Cello: Calo Scott Clarinet: Souren Baronian Acoustic Guitar: Sam Brown Organ: Carla Bley Bass: Ron McClure Drums: Paul Motian 12. Song Title: Rawalpindi Blues Artist: Carla Bley Album: Escalator Over The Hill Label: JCOA Year of Release: 1971 Composer: Carla Bley Lyrics: Paul Haines Jack’s Traveling Band: Guitar: John McLaughlin Bass, Vocal: Jack Bruce Organ: Carla Bley Drums: Paul Motian Desert Band and Sand Shepherd: Trumpet, Vocal: Don Cherry Violin: Leroy Jenkins Cello: Calo Scott Clarinet: Souren Baronian Acoustic Guitar: Sam Brown Organ: Carla Bley Bass: Ron McClure Drums: Paul Motian NOTE: Tracks 11 and 12 make up all of Side 5 of the original vinyl LP issue of “Escalator Over The Hill.” We have discussed these tracks at some length in the Discussion for this Blindfold Test. 13. Song Title: H-46M…B-BW4 (as titled on the original vinyl release, with a diagram in the title) Opus 40(0) (as titled on the Mosaic box set reissue) Artist: Anthony Braxton Album: The Montreux/Berlin Concerts, reissued on Mosaic’s The Complete Arista Recordings of Anthony Braxton Label: Arista Year of Release: 1977 Composer: Anthony Braxton Recorded at the Montreux Jazz Festival, July 20, 1975 Alto Sax: Anthony Braxton Trumpet: Kenny Wheeler Bass: Dave Holland Drums, Percussion, Gongs: Barry Altschul 14. Song Title: Fusion Artist: Teo Macero Album: Teo Macero Conducts the London Philharmonic Orchestra Featuring the Lounge Lizards-Fusion Label: Europa Year of Release: 1984 Recorded: 1982 Composer: Teo Macero Composition Year: 1954 Conductor: Teo Macero Orchestra: The London Philharmonic Orchestra Guitar: Ryo Kawasaki Alto Sax: John Lurie Trombone: Peter Zummo Piano: Evan Lurie Bass: Tony Garnier Drums: Douglas Bowne In the CD liner notes, the following appears: “FUSION was originally performed at Columbia University, New York City, on April 23, 1956. Howard Shanet conducted the Columbia University Orchestra and a Jazz quintet. It was later performed at Carnegie Hall, on January 11, 1958. Leonard Bernstein conducted the New York Philharmonic Orchestra and a Jazz quintet featuring Art Farmer, John La Porta, Don Butterfield, Wendell Marshall, and Ed Shaughnessy.”
  13. Blindfold Test #163

    I am glad that you got this in, as I am posting the Reveal today. My responses are in red next to your comments.
  14. Blindfold Test #163

    No one has mentioned it so I will say that I like John McLaugjlin’s electric guitar solo on “Rawalpindi Blues”. My reaction is that it is a compelling electric guitar solo without the overwhelming flurry of fast notes that was the characteristic of his Mahavishnu Orchestra playing not long after this. It was a different approach for John, which he did not explore further in recordings as far as I know.
  15. Blindfold Test #163

    I am glad if I inspired you. My favorites are the Overture (Side 1 of the three record set) and Side 5, but there are other pleasures throughout.