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Joe
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Posts posted by Joe
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This is a record that might (pleasantly) surprise folks who know Cooper only from his 50s work.
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Nice documentation of Bob Cooper's under-appreciated evolution.
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Roswell Rudd's notes to the Mosaic Herbie Nichols set are some of the best I've ever read.
I also find it hard to think about my experience of Tina Brooks' and Freddie Redd's music without recalling what is was like to read the booklets included with their Mosaic sets for the first time.
TBH, I was hoping for more from the notes to the recent Tristano set.
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3 hours ago, JSngry said:
This cut is not really representative of either record, but nevertheless, both are fine and fun. And this cut alone is priceless.
There's "the rub" in some sense. But "worth the price of admission," as "they" "say."
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7 hours ago, felser said:
#3 desperately needs a CD issue.
Seconded!
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25 minutes ago, JSngry said:
After posting, I cheated as much as I was able, and no regrets about #2, not really. Maybe another cut would have landed better.
But #9...I have that record, got iy years agou, but rush-listened to it and the filed it away. A horrible mistake....
Your BFTs usually have at least one PSA cut, and on this one it's #3. Talk about a missing link...even if it is after the fact. Newark!
I will definitely have more to say about 3!
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8 minutes ago, JSngry said:
Scabbberblabbing while wondering what happened to promises, guarantees, and dangerous bubblegum. I offer none of those, have looked at a few responses, but am copping none of them for my own, under mattress tags of lawful intercourse.
TRACK ONE - This does not exist without Chico Hamilton, but this is not Chico Hamilton. But it is two guitars, one way or another. Our gracious host has dropped a few hints, and I'm going to use them to make an entirely unfounded guess and say Dennis Budimir. But searching Discogs shows no record that matches this lineup. That proves absolutely nothing. Nice cut.
TRACK TWO - Uh....ok. This might be more interesting if there were more machines and fewer people. Might be. Textures are good, pocket is way too stiff for my liking, and the melodic line is redolent of nothing to which I would aspire to inhabit, or to be inhabited by. Kinda like Zawinul if Zawinul had been white. Maybe if I was really lonely I could feel something for it, but I'm not lonely, I'm just tired.
TRACK THREE - This is a trip. It sounds like a Larry Young band with somebody copping Charles Lloyd's groove but not sound. It's not Buddy Terry is it? No, because that sure seems to be Elvin. I will be disappointed but not surprised if I either have or do not have this record. I like this one a lot, some hip shit indeed. It takes true character to play the tenor like that! OH FUCK - THIS IS BUDDY TERRY - "The Revealing Time" The Newark-only Unity, not Elvin, Eddie Gladden, Not Joe, Buddy Terry. HELL YEAH!!!!!!!! My apologies FOR NOT LISTENING LONG ENOUGH THE FIRST TIME TO GET TO wOODY sHAW. tHIS IS A MONSTER CUT, CRUCIALLY IMPORTANT, IMO. everybody LOVES UNITY, BUT uNITY WaS A STUDIO BAND, THIS IS HOMETOWN MUSIC RIGHT HEAR, ATTENTION MUST BE PAID!!!!!!
TRACK FOUR - Sounds like some almost-overarranged Julius Watkins. I don't know it. The solos give some breathing room. Soloists sound like some very capable (or better) 'followers". It's good.
TRACK FIVE - That's interesting. I feel the shadow of Paul Bley, but a supportive shadow, not an enveloping one. Frankly, the note that this pianist is a sometimes poster here tell me all I need to know. I like this one too., as the Paul Bley pianistic lineage is one of several that have gone unnoted for far too long.
TRACK SIX - YAH!
TRACK SEVEN - Ok, I get that a lot of people hate this guy, and often enough with at least casual reason. But it's too easy. Everybody here can play, and in this case, the material is a solid germ of an idea that gets developed in a thoughtful and linear manner. Haters gonna hate as they say, and groupies gonna group, but for everybody else, there's life in the case-by-case lane. In this lane they're being joined by Les McCann who waves and says, hey, whatever, you do you, I'll do me, let's both get paid. And so they did!
TRACK EIGHT - The Dynamic Duo! I remember how this album got a lot of mixed reviews, and ok, but...seriously? Masters gonna Master any damn time they want to, any damn way they want to.
TRACK NINE - Whoa! That's some writing, very Mingusian. And serious tenor playing to go with it, in it, of it. If this is Teo's writing, it's not Teo's tenor, that's for sure (but both are more than very capable, don't sleep on Teo the musician). No matter, marvelous music in both conception and in every aspect of execution. What's the rest of the record like?
TRACK TEN - Oliver Lake, probably from his first Gramavision. Nicely played. At the time, I felt ever so "slightly" about those records because they struck me at the time as being just ever so slightly overtly Dolphy-esque, which in retrospect was a pretty silly/dumb notion to have. True enough (maybe...), but so what, right? Heard today, this is a delight.
TRACK ELEVEN - Is this a bamboo flute? I've no idea where to begin for guesses, so I'll just enjoy it.
TRACK TWELVE - Oh, moody! In a good way. Sounds sorta like Bohemia-period Mingus, but only sorta-kinda. No matter, very nice!
TRACK THIRTEEN - Head sounds like Elmo Hope, solos like Bill Evans until not, obviously neither, so what other tricks are there, or is this it? I mean, what can you say, it's pleasant, I wouldn't kick it out of bed foreating crackers, at least not the first time. But short leash after that. OTOH, there's a lifetime of work that goes into doing "even" this, and that should damn well be respected as such.
Hey Joe, it's been years of pleasure listening to the various musics that pass through your hands, ears, and mind. Always a pleasure. Always!
Thank you! Glad you enjoyed it.
Of course, you nailed a handful of these. (And you are correct about the instrument in the mix on 11.) I think you might kick yourself (figuratively) upon the reveal for 9. 2 might surprise you as well... we'll see.
In retrospect, I hear how much of this BFT is about the drummers. 2, 3 , 5, 6, 7, even 10 and 13 all hinge majorly on what the drummer's doing, or holding back from doing, or not doing. But I didn't really plan it that way. On only one of these tracks is the dummer is the bandleader.
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Just now, Dub Modal said:
Then my final guess will be Martino, even though it doesn't really sound like him.
Different coast.
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It's funny. Some June Christy (then, Chris Connor) came up on the mix I was playing in the car last week, and I thought to myself, "Well, here's a vocal style — an American vernacular, even — that's basically become a fossil." I guess I was wrong [?]. Eager to explore what this artist is all about.
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15 minutes ago, Д.Д. said:
Cornet solo is fantastic - the flow and ideas are fascinating, it's a shame the player is not known better. .
I couldn't agree more. Thanks for these observations!
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Push to shove, I'll take 1961 at the Village Vanguard.
But my favorite Trane record might be COLTRANE'S SOUND, for largely sentimental reasons.
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5 minutes ago, Dub Modal said:
1 - Psych elements on that guitar like Szabo, but it's not his sound. Getting some Coryell vibes though. Definite mood track. Really enjoy that psych rock lean.
2 - All right - interesting. The band is jamming. Drummer has a hard time in spots but the synths carry it.
3 - Ok tune. Organist carries it by handling that bass line.
5 - This is like if Bobo Stenson wanted to swing. Strong presence from that pianist. Bass & drums are locked in and follow whoever it is on the keys into the song.
6 - Love the melody on the head. 70s tune? Not so in love with the bass solo even though they're obviously very good.
7 - Not the first song in this BFT with that 70s rock groove. The pianist takes em there but I sense the band doesn't necessarily need to follow him. They do though. Works out ok.
8 - Some real beautiful moments here. The sax (soprano?) has a great sound.
9 - Helluva triumphant opening segued into a noir-ish piece. Mood! Bass clari stealing the show until the sax shows up.
10 - I like it, and like what the sax player is doing. Would almost prefer the pianist not be there.
12 - Another good one. Nice bari sax on another noir composition.
13 - Dig the trio. Giraldi-esque playing. Good song.
Thanks for putting this together!
Coffey?
Thanks!
Not Dennis Coffey, but I too hear a distinct Szabo thing happening, alongside the expected Wes-ims. I think I'll have fun revealing this one!
6 has 70's connections and connotations, but it dates from late in the leader's career. Who is the leader? You have a one in four chance of nailing that!
I kind of agree about 10... its the saxophonist's show for sure. A name in their day, but not a player I hear much about anymore (still active as far as I know, though).
"This is like if Bobo Stenson wanted to swing" 😀 ECM vibes, I feel them some, but this is an all-American band.
The band on 12 is a bit of a surprising amalgamation. Agree about the bari player... and they're probably the most obscure member of the group.
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I first heard him — without realizing I was hearing him — on ASTRAL WEEKS, which changed my world. When I heard OUT TO LUNCH years later and made that connection, it changed my world all over again. RIP, and thank you for the music.
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Something I learned today.
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15 hours ago, randyhersom said:
David Spinozza, Steve Cropper and Teenie Hodges might fit that profile.
Yes, but no.
In all honesty, this guitarist was not on my radar until I discovered this record recently.
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7 hours ago, randyhersom said:
Mundell Lowe on 1?
Think: closer to Motown than uptown.
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Thanks all!
The lead on #11 is not a Western instrument, FWIW.
Carlos Ward does figure in this BFT... just not on #10.
The guitarist #1 is not a household name (as far as I know, anyway). But they've appeared on many classic LPs (session work).
The cats are out of the bag on #8.
If I am reading the credit correctly, there are two bassists on #9.
#5 features a player who has posted in these forums before.
Keep on enjoying!
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5 minutes ago, Dan Gould said:
Hate to say it but for me, call it a miscellany of mostly misses.
4 and 13 are only ones of real appeal (and I am a little curious on the pianist for #7).
Thanks Joe.
#7 is a prominent figure; no obscurities in that combo, in fact.
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11 minutes ago, BillF said:
Track 4: Kenny Clarke on drums?
Confirmation (not to give away the title or source of the tune).
BFT 234 Link & Discussion
in Blindfold Test
Posted
Thank you Thom!
Gotta trust your ears on track 3. I think I am in the same boat with you w/r/t the tenor player.
The pianist on 4 is, if not household name, a highly regarded player. Still alive, too, and still putting out records.
Not George Duke on 7, but, now that you mention it, I hear that "thing" too.
Griffin is an interesting reference point for 9. There is a universe in which there are less than 6 degrees of separation between JG and this player. The common factor is another bandleader.
Bingo on the alto on 10.
13: "Barry Harris school" for sure. And I agree: its about the composition and its subtle departures from bop orthodoxy.