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Posts posted by webbcity

  1. I don't usually jump in so quickly, but I did a quick scan of these just to see if I knew any of them. Coincidentally, the first two tracks are from albums I listened to recently. One of them I considered for the last BFT. 


    [*** SPOILER ALERT!!!! ***] 




    Track 1 - This is the opening cut from Griot Galaxy's "Kins," a beautiful record! I love the circular feeling of this tune... the groove that Jaribu Shahid & Tani Tabbal get into is hypnotic, and I just love the way the horns bounce around it. 

    Track 2 - This is Robin Kenyatta, from "The Girl From Martinique." This might be my favorite cut from the album... I think it's called "Blues For Your Mama." Kenyatta sounds so good on the head, over that rhythm section, just laying it out there. The SOUND of this cut is just so great. Organic... raw... beefy bass and crispy drums. And they're just open to whatever happens here. It's a beautiful thing. Gotta love Dauner's clav sounds too, just too cool. 

    I'll have a lot more comments on the other tracks when I have more time to listen, but this BFT is sure off to a hell of a start. 

  2. ...continued from above...

    7. Vista - Marion Brown, from "Vista"


    Have been on a bit of a Marion Brown kick lately. This particular one I remember getting especially because of Cowell's involvement, and because "Maimoun," one of my favorite SC tunes is on here. But the title track here is just absolutely beautiful, IMO.

    8. All the Things You Are - Carmen McRae, from "Velvet Soul"


    As I think I mentioned in a previous comment, Carmen McRae has come on to my radar big time over the last few years. Her sound, phrasing, everything about her just speaks to me in a way that not many vocalists do. This is certainly a lesser-known album of hers but I enjoy the hell out of it. 

    9. Jitterbug Waltz - Stanley Cowell


    JSngry got this one! And yes, it's a bit over the top in terms of "trying to impress" I suppose, but to me this isn't just empty virtuosity. Cowell can back it up. One of my favorite piano players. I realized when putting this BFT together that I don't listen to this particular disc nearly as much as I should--it's fantastic. Other standouts on it for me are "I Am Waiting" and "Nefertiti."

    10. Son of Alfalfa - Henry Grimes Trio, from "The Call"


    I bought my first copy of this one in college, I was getting deeper into free jazz, had heard of the ESP label but had no idea yet who Grimes was. That photo of him on the cover seemed to look right through me and say "listen to this!" I spent many years after that listening to any recording of him that I could find, and eventually got to meet him, and help his wife Margaret with their web presence. Rest in peace, Henry.

    11. Syltebo - Human Feel, from "Human Feel"


    This is another very personal one. One of the few on this test that nobody was able to get. This was a young Boston-area group from 1989 called Human Feel, with a few people you may have heard of, like Chris Speed, Jim Black, and Andrew D'Angelo (not to forget Rick Peckham or John Silverman). I played this thing to death for a while. This track still makes my spine tingle. However-- good luck finding this CD. I don't even have it any more... the version I used here came from digitizing a cassette copy of the CD my brother used to own. If I came off a reasonably-priced used copy of this now, I'd snap it up without hesitation.

    12. Judy's Bounce - Jemeel Moondoc, from "Judy's Bounce"


    Yes, the Ornette vibes are strong here. I have a couple of Moondoc records I really love and this is one of them. Have heard one or two that haven't hit the spot as well, but when he reaches me, he really reaches me. I've been meaning to investigate some more of his recordings and will likely do that soon!

    13. Come Sunday - Cedar Walton


    Just a great, great group on this record. I couldn't believe it when I saw a thread pop up here about this album just days before putting the BFT out. Oh well. I figured this one would have been one of the easier guesses anyway. I have a real soft spot for this album. "Twlight Waltz" on this (later known as "Midnight Waltz") is one of my favorite tracks ever. But I went with "Come Sunday" because I really like this arrangement.

    14. Evod - Ari Brown


    Ari Brown! The man! This one just hits all the right notes for me. I love the relentless groove and slow build of this tune. Actually just thinking about it now makes me want to listen again, I may give this disc a spin right now.

    Thanks all! Glad to present this and was glad so many of you enjoyed it.


    1 hour ago, Dan Gould said:

    Well this is a pretty ironic  example of the "everybody will discover they own at least one track" BFT rule.

    Who would guess I own that Tyrone Washington album?  And the only reason I bought it was that I recognized the name and thought some Big O friends would want to hear it.  The copy I picked up was still sealed and about $3 IIRC.  I know I sent a copy to Lon and I want to say I sent it to Sangrey too? Though I wouldn't be surprised if he got his own at some point. I think maybe I sent to Rooster too?  I just recall making multiple xeroxes when I had it in hand.

    Nice! And do you like it? I didn't see you comment on the BFT so I'm curious what you think of it...

  3. Okay, for the answers to this month's BFT, please see Thom Keith's post on page one.

    But seriously, folks...here's the complete info and links. Thanks to all who participated!

    1. Push - Shamie Royston, from "Beautiful Liar"


    I discovered this album last year by hearing the version here of Bill Withers' "Lovely Day" on jazz radio and thought it was, well...lovely. Most of you thought the track here sounded derivative, which may be fair, but that doesn't bother me-- overall I find this album very enjoyable. Royston writes some top-notch tunes and everyone here plays like they mean it.

    2. Sweet'n - Richard Davis Quartet, from "Total Package"


    Now this is a record I discovered literally just before I thought I was ready to send this month's tunes to Thom! And as soon as I saw the lineup I knew I was in. So this one is still new to me but I plan to listen a whole lot more.

    3. Submission - Tyrone Washington, from "Roots"


    Tyrone blows his ass off on the record. I came very close to including "You Are The Sunshine of My Life" instead of this one...which you should absolutely listen to if you haven't heard it...but damn, it doesn't seem to be up on YouTube. This album is due for a proper reissue I think.

    4. The Walking Blues - James Carter Organ Trio, from "At the Crossroads"


    I'm not nearly as familiar with James Carter as many of you here, but the bari solo on this tune grabbed me by the neck the very first time I listened to it, and never let go. Hoo boy!! I could listen to that ALL DAY.

    5. Wabash Blues - Tomeka Reid Quartet, from "Old New"


    I believe it was Hot Ptah who correctly ID'd the brilliant guitar work from Mary Halvorson on this track. She's one of the highlights of this disc for me, but the whole group is just killer. Definitely one of my favorite releases of the last several years.

    6. Interplanetary Travelers - Sonny Simmons, from "Staying On the Watch"


    A classic ESP session. Simmons, more and more, is a favorite musician of mine. And I have only heard a relatively small part of his discography at this point. And I was happy that JSngry specifically pointed out Barbara Donald's trumpet playing on this track as I think she is outstanding.

    More to come shortly...I have to do this in stages as my schedule is a bit crazy at the moment...

  4. 2 hours ago, AllenLowe said:

    well, my experience with academia is nothing but bad - the comments to an NEH proposal I wrote, reviewed by academics, referred to me disparagingly as a "hobbyist" because I had no PHD; last year I started attending some events hosted by the Yale Black Students Music Archives group, all of which appeared, in their promotion, to be public. Finally Daphne Brooks, a PHD fool who was running the program, asked me to leave. It was odd, because I never made a single comment but she knows me from some conferences etc and I have a feeling she was worried because I knew so much more about the subject than she did (I had attended one of her previous lectures in which some academic was speaking on gospel music and made such a bizarre and obvious mistake that I HAD to say something, though of course it did no good). At the various EMP Pop Conferences I attended the academics treated me like I was some kind of leper, so I stopped attending. My experience, when it comes to the history and cultural side of the music, is that academics tend to have an authoritarian mentality, meaning they do not believe in free speech or in academic freedom if it contradicts their own beliefs.

    It's interesting Allen, because I think of you as a true jazz academic in the BEST sense of the word, if that makes sense-- your knowledge is deep and untouchable from what I've seen. I would think people would absolutely want to have you on board, to learn from you and exchange ideas. I know that's pretty naive, but I guess it's the way I wish things were in academia. When I look at it again I can see the truth in your last sentence: "they do not believe in free speech or in academic freedom if it contradicts their own beliefs." I do recall finding this to be true in my own limited experience, at certain moments, even though my college experience was largely positive. 

    1 hour ago, JSngry said:

    similar story, first year in a Lab Banc at NT and I'm in the "jazz tenor" chair. We're reading down some really dumb chart, just a really basic blues in Bb, and I started my 2nd chorus by playing "Giant Steps" more or less verbatim, for levity, but also because I had done this before on my own time and knew there were just enough common tones along the way that it didn't sound totally wrong...a bit jarring, maybe, and that was the point. But not totally wrong.

    But I guess the director didn't hear it that way, because the band was stopped immediately and I received a rather searing dressing down about all sorts of things, including(but not limited to) the importances of:

    • taking life seriously and not being a joker
    • of always playing the changes correctly (because that's the only way to show that you really know what you're doing),
    • recognizing the significance - the HONOR - of being in an NTSU Lab Band
    • respecting the aspirations of my fellow band members at all times (which is good advice, really, just not appropriate to the immediate situation)
    • ALWAYS bringing a positive and serious disposition to EVERY aspect of EVERY performance for the rest of my life (again, not bad advice overall)

    So, you know, I kinda listened and said, ok, but dude, it fits, it fits if you want it to fit, doesn't it?


    so...fuck the police.

    There are other tales to tell, but they are not worth telling, because after that first encounter, the pigs had me marked, and vice-versa.

    Unreal. Yeah... what a terrible attitude for a jazz band director to bring to a music that is meant to be expressive, spontaneous, you know... CREATIVE. I will never understand that mentality.

  5. I'm the product of a university jazz program, and I even have the BA in music performance degree to prove it! :D

    I joke, but I actually had a really great college experience overall. Yes, there was some of the usual "limited thinking" that was pretty messed up. But ultimately, I now have a great fondness for those years, because there were many great teachers in the department, and SO many playing opportunities. And we were lucky to have some incredible visiting musicians too... James Williams, Clark Terry, Milt Hinton, Hal Galper, Dave Holland, to name a few.

    Having said all that, I totally get the whole "university jazz education" thing. At that point I was starting to get into free jazz big time, which was a tough sell at first due to the very straight ahead nature of the program. But I started a group of folks who wanted to play free, and it did eventually win some people over, which felt like at least a small victory.

    Anyway... enough reminiscing... to the point of this thread, I do have a story that comes to mind. Not exactly a nightmare, but it has bothered me for years.

    I was in a combo that was playing for a visiting trumpet player, who was giving us feedback. After the tune was over, he pointed to me and said "the bass player's solo was the best, does anyone know why?" While feeling pleased that my clearly brilliant solo was being praised (;)), I was further curious as to what the answer to his question was. Nobody answered, so he said: "Because he played all the right notes! He followed the changes!" Ugh. Even then, as a young know-nothing, I knew there was something deeply flawed in that answer, and it upsets me to this day because it represents what I don't like in jazz: playing "by the rules."

  6. Comments below in red...

    On 5/24/2020 at 7:37 PM, JSngry said:

    Ok, crazy month, no time for sergeants or for sustained listening, so yes I read ahead and can now only post reactions, not guesses.

    TRACK ONE - Well, ok. Good for the, whoever they are.

    TRACK TWO - Oh my, I have this record, and of course did not recognize it! Rick Ford! I very much like the way he evolved, coulda been another one of those guys sho didn't find a voice because all they wanted to do was "sound go", but he went for the voice thing, and got there (and kept going, the longer he goes, the more quirky he gets, in the good way.. Need to pull this one back out at some point.

    TRACK THREE - Tyrone, from Roots. There's another guy who had a voice, and then, I guess, hear a voice calling him to do something else, so, he did. Between this one, Do right, and the Brains On Fire stuff, there's a whole set of Tyrone Washington that has nothing to do with "Blue Note". Just sayin'...Oh yeah, Hubert Eave throwin(g) down!

    Hell yes!

    TRACK FOUR - Ah, James Carter, that all makes sense. After Leroy Cooper, and early Ronnie Cuber, this is where that thing goes if you don't want to do Hammiet BluiettI. like if you like ALL of Leo Parker's records, not just the bebop ones,  do like this, I do, but I'd like it more if I didn't know the original so well for so long. The new singer just does not cut it for me like Fluffy Hunter did ("deef"! "burries!), not even close (+ handclaps are usually a plus. Allow me (and dig that frantic piano being the tenor solo, somebody's about to OD on the urge to bebop!)..

    But James Carter knows what he's doing and why he's doing it. Keep on doing it for a while, please! (but do NOT forget Fluffy Hunter!)

    Believe or not I hadn't heard the original of this, and was obviously missing a key part of its significance. Thanks for posting that! I agree that the singer on the Carter version isn't nearly is good, but put it in the BFT for Carter's solo, whose solo blows my socks right off every time I play this track.

    TRACK FIVE - why can't that be Chico Hamilton? I mean, no reason, right? For that matter, why can't it be Abdul Wadud? There's two people who could have made a record together but didn't. Life is not fair. For that matter, how is thet not Sonny Sharrock? Oh well, if these are not those people, let's take assurance that those people were those people themselves, and that's how we got here, I give thanks for all of that.

    Amen to that. I hear you on Hamilton/Wadud/Sharrock and the influences are clearly there!

    TRACK SIX - I can't argue with that! Sonny Simmons was a baaaaad amn! Totally. and check out Barbara Donald! Amazing! Those peopole weren't jsut "energy" players, they had all put int he time to learn and play "regular" music as well, you can't fake that, just like you can't fake the power of what they chose to do instead. Heroes!

    I'm glad you called out Barbara Donald--truly someone deserving of more recognition.

    TRACK SEVEN - Marion Brown, ok. Some of his things, I have to be in the mood for, and this is one of them. And I'm afraid I'm not.

    TRACK EIGHT - Carmen McRae, of course. I've gone decades not caring for here too much at all, but the last year or so, I seem to be coming around, so...I do like this one a good deal. Solos, yeah, whatever, but she's dealing.

    I don't listen to all that many singers myself-- something I need to change. McRae is someone who has come into sharp focus for me over the last few years. Her phrasing is just SO killer, and she also strikes me as someone who does her thing with a total sense of freedom.

    TRACK NINE - Ok, I wasn't sure who this was, but somebody referenced Tatum, and I DO know that quiet as it's maybe kept, Stanley Cowell  is DEEP into Tatum. And sure enough:


    Stanley Cowell is a very accomplished musician, which seems like a kind of a DUH thing to say, but go listen to the Piano Jazz show he did, he talks about Tatum and all that stuff, Most of the records he's made as many things, but not this, and this is some very serious piano playing. That left hand is alont Hines-ian the way ot goes wandering but never actually wanders...remind me to never play poker with Stanley Cowell.

    Nailed it! Yep, people kept mentioning the Tatum influence and I was thinking the whole time... "you're definitely onto something..."

    TRACK TEN - Perry Robinson is pretty unmistakable and this is a great record. First the farmer, then the son, then comes...?

    TRACK ELEVEN - So this is Braxton? What record? I don't have it, and I want it. Kicks ass! But that does not sound like Braxton on alto?!?!?!?!! it almost sounds like Zorn? Who are these people?

    Nope, not Braxton (as you said below). Excited to reveal this one. As I said above, I'll be pleasantly shocked if anyone gets this.

    TRACK TWELVE - ID'ed as Ed Blackwell, who, really, is the only drummer that is going to do that. But as ususal, I can't get all in on Moondoc. I just can't. But with those guys behind him, I don't worry about that. But why does it sound like there's two alto solos if there's only one alto player?

    I'll admit I had trouble getting into Moondoc for a while too, but I do love this one, as well as a couple other of his records I have. "Revolt of the Negro Lawn Jockeys" on Eremite is a killer.

    TRACK THIRTEEN - Cedar doing a Don Schlitten Prestige, already 'id-ed and discussed. I do like it as history, and would note that one ignores those late-60s
    Schlitten Prestiges at their own peril, thee are some..."intersting" things going on in those records.

    TRACK FOURTEEN - Ari Brown is an unsung giant. Simple as that.

    This was a really good mix. Thanks for doing it!

    Thank YOU for checking it out and for your insightful comments.

    Ok, so that's NOT Braxton. GOOD! Barbecue that was just too weird if that was him playing alto. The overtones stuff does put me in mind of Zorn, though, and I do like the record.


  7. On 5/22/2020 at 11:49 PM, mjzee said:

    I listened to this BFT without reading any of the prior comments.

    Track 1: Sounds like early-80's, Woody Shaw-ish.  Trumpeter was showing off his good range and articulation.  The tenor is playing in and out, covering all notes, at the expense of personality.  Overall, kind of a frantic performance.

    Track 2: They should've played "My Favorite Things" rather than an original that's a derivation of same.  The tenor plays fast at the expense of real emotion.

    Track 3: Happy Apple?  I like the energy.

    Track 4: Pretty funny.  The sort of record that used to be sold from under the counter.  Remember "Shaving Cream" by Benny Bell?  Good baritone on this track.

    Track 5: Too cluttered, unpleasant to listen to.  They're trying too hard.  A lot of energy, with seems to be a common thread in this BFT.  This would've been called "skronk" back in the day.

    Track 6: Ornette or a disciple.  Like bashing your head against a wall.  I'm not a fan.  Stopped the track after 3 minutes.  The problem with this stuff is, in its own way, it all sounds the same.

    Track 7: Finally, some pretty melody.  Wish it wasn't so modal and actually went somewhere, but it was a nice ride.

    Track 8: Nice to hear a singer.  Don't know who it is.  Singer prioritizes her chops instead of the emotional import of the lyrics.

    Track 9: Jitterbug Waltz.  Can't anyone play it straight tonight?  Again, too many notes, but he/she resolves his/her lines nicely.  Tries to out-Tatum Tatum.  Reminds me of the Joni Mitchell line: "The times you impress me most are the times you don't even try."

    Track 10: Another Ornette disciple.  See my comments to track 6, though this isn't as noisy.  Not my cup of tea.

    Track 11 & 12: More of the same.

    Track 13: Come Sunday.  Nice performance.  The drums were a little busy.

    Track 14: Again, not a fan.  It's OK, but just not distinctive.  I can identify this one: The Ari Brown Quartet! (Yes, I listened to the end.)

    Thanks for putting the BFT together.  I know how much work it can be.  Wish I could have enjoyed it more, but we all have different tastes.


    Yep, all good, our ears are all different, as it should be. Sorry you didn't find more to enjoy. 

    On 5/24/2020 at 11:33 PM, Hot Ptah said:

    Track 11 sounds like James Carter to me. I am trying to remember an album featuring him which has a second saxophonist though. 

    I love Track 12. I should know this but I do not. I probably have it in my collection, or albums featuring each musician here. 

    Track 13 is a very unusual arrangement in which Duke Ellington's "Come Sunday" pokes through. I want to know what this is!!!


    I am skipping around this BFT and listening to different tracks repeatedly. I will have more comments in the days to come. 

    Not James Carter on track 11. I'll be very pleasantly surprised if someone guesses this one. Not because these are unknown players, but it's very early in all of their careers.

    Track 13 *is* Come Sunday! This one has been ID'd which I'm sure you've seen by now. Love the album this is from, it's a favorite. What a band!

    On 5/24/2020 at 6:09 PM, Hot Ptah said:

    I love Track 14. I have this album, but could not remember who it was until the spoken introductions at the end. 

    Back to the top:

    Track 1. I like this a lot. Appealing head, energetic solos. I think it is from after 1990. It could be a very recent release. 

    Track 2.  I have previously identified this as Richard Davis, from the Total Package album, with Ricky Ford. 

    Track 3.  The unmistakable sound of Tyrone Washington!

    Track 4. This is odd. This is an old song. I distinctly hear in my mind, a white blues band singing it, someone like Roomful of Blues or Lil' Ed and the Blues Imperials. There is a long time blues/older R&B show on public radio in my city and it has been played on that show. I find this arrangement and performance to be a bit of a mess. The song is too slight for such an intense production, in my opinion. The white blues band performed it more as a novelty number. 

    Track 5. That is Mary Halvorson on guitar. It has to be. She has a very distinct style and sound. I have not kept up with her entire recorded output. I like this track a lot. Very interesting composition and very well, and intensely played, by all. 

    Track 6.  A heavyweight alto sax player, influenced by Ornette. I can't place this. I have never heard it before, somehow. I like the drummer a lot too. 

    Believe it or not, I didn't realize that announcement was at the end of track 14! Oops! Hahaha

    You are the first to ID Tyrone Washington on track 3! Hadn't listened to this one in a while but when I pulled it out again recently I knew it had to go on this BFT.

    You are also correct that the guitarist on track 4 is Mary Halvorson. She is an absolute wizard on this track, IMO. And on this entire album. It's not under her name though.

    Thanks for listening, for your interest, and great comments!

  8. On 5/6/2020 at 10:21 AM, Hot Ptah said:

    Track 2 is Track 3, "Sweet'n", from this, by my favorite bass player, who also composed this piece:



    You got it! This is an album I just learned about recently... in fact, I had already put the BFT together, but went back to ask Thom if I could revise, because I wanted to add this in. This is a really great record!

    On 5/6/2020 at 8:25 PM, felser said:

    @tkeithPlease let me know where to start!   @webbcity  So it turns that in addition to 7 and 14, I also own 6 (which I love), 10, 13.  I really need to get more familiar with what's on my shelves!   Fun BFT!  I'm not a big fan of the "mature" Ricky Ford, which explains my reticence on #2.  I liked him as a kid with Mingus and on his first album, "Loxodonta Africana".  I may do some sleuthing based on Thom's work and your feedback to him.  I may have semi-wooden ears, but I'm great at google searches!

    Ha! I get it. I don't even have that large of a collection, but I'm willing to bet you could pull something out that I own, play it, and I may not recognize it. I will say though that one of the benefits of this COVID situation (since me & my family are still all healthy, knock on wood...), is that I've had a little more time for listening, and pulling out albums I haven't listened to in a while.

    As for Ricky Ford, I am not an expert on him, but know the 3 others on that track pretty well.

    And regarding Elvin with Ari, I did not know that was a thing until this thread! :o All I found was a Jazz Machine album called "Soul Train"... is that the one Thom? Are there others?

  9. On 5/3/2020 at 4:09 PM, tkeith said:

    Track 01 - Sounds late 80s to me, but the drumming sounds like Dana Hall, but busier.  What was that alto transition into the piano solo.  Seems out of place.  Something John Hicks-ish about the piano, but every time I was waiting for the tell-tale line, it wasn’t there.  Maybe Joe Bonner?  I don’t know the alto player (but you’ll tell me I do).  Good opener, but not sure where I am on it long-term.

    You may not know the alto player...I'm not sure. And you may be the wrong neighborhood, which I delight in pointing out only because you got nearly everything else right. :lol:

    Track 02 - I’m all in.  First thought was Shepp, but you wouldn’t do that.  Wait, that’s Ricky Ford.  GOOD Ricky Ford.  Good chance I have this, but it’s been awhile since I’ve delved into Ricky.  Maybe one of the Jaki Byard dates?  Though that sure sounds like Cyrille and not Ben Riley.  I need this if I don't have it.

    Correct on Ricky Ford and Andrew Cyrille! It's someone else's date though.

    Track 03 - Not sure I’m feeling this one, dude.  Intonation counts for something.  No phones, but that sure feels like electric bass to me, and I’m not digging it.  This ones a miss for me.

    This one is a direct hit for me... the reveal might surprise you. :) 

    Track 04 - Redeemed.  The Walkin’ Blues, but I can’t say who by.  Okay, so that’s gotta be James Carter.  This has to be one of Lester Bowie’s organ projects.  Or are you playing me and this is one of James’ influences from Detroit.  Either way, burns and makes me happy.  The guy I’m thinking of, I can’t pin a name on him, but he’s a guy James worships.  Don’t think it’s Lester, either.  Maybe one of the guys who is in those bands, though (Zollar, Malachi Thompson, or somebody like that).  Third listen.  It's James.  He's a little off, but it's James.  Sounds like his guys (Gerard Gibbs on organ, Dr. Professor Leonard King on drums). 

    It's James Carter. If this is "a little off"... wow. I LOVE this.

    Track 05 - Yes, please.  Gotta be Fred and Diedre.  Not something I have, though.  All day long, this. How do I NOT have this?

    NOT Fred and Diedre. Really glad you like it though!

    Track 06 - Ah!  At first I was all ALBERT!  Then I realized it’s the closer from this.


    Track 07 - Oh!  It’s the title track from this, but there is something about that intro that always cries out Eric Satie to me.  And what’s not to like about the personnel on this!?!?!  Why is Jimmy Hopps not a household name?

    Right again! And I know what you mean on the intro.

    Track 08 - First instinct was Karin Krog, but I”m wrong.  That’s Carmen McRae, no doubt about it.  I don’t have this, and if I did, I wouldn’t keep it because of the drummer.  That’s Joe Pass on guitar.  Ah… now the choice is clear to me, that’s Ray Brown.

    Correct on all counts. I hear you on the drummer, but I love everything else about this too much.

    Track 09 - Jitterbug Waltz a la glissando.  Hmmm… I know this guy… the phrasing is there, but I’m not getting the tell-tale lines.  When I hear Art Tatum, this is what I WANT to hear.  Getting a Hutcherson vibe (no punt intented), but thinking maybe one of the guys that was on some of those Liberty sessions but is lesser known.  Not sure I’d play it this way, but he means it, and that’s good enough for me.  

    You know this guy.

    Track 10 - Timely.  Closer from this.  Perry is on my short list of tolerable clarinetists.


    Track 11 - Man, this is like two tunes.  Drums/bass are doing something I like, but not against the horns.  I want it to drive more, and be more in sync.  Also is super familiar.  Kill me and tell me it’s Braxton (I hope not, because I actually like it).  Yeah, I”m really wanting the drums to match the rhythm of the horns here (a la Equal Time).  I know I’ll kick myself on this reveal.

    It's Braxton! Haha...no, it's not. I don't think you'll kick yourself, but I could be mistaken.

    Track 12 - Blackwell, for sure.  Oh!  Yeah.  “I is a artist.”  It’s the opener from this.

    Again, yes!

    Track 13 - Come Sunday, a la Cedar.  One of the early albums in my collection.  Twilight Waltz and Head and Shoulders were my favorite cuts on this.  Did ANYONE walk like Leroy!?  From this.  Man… nobody is like Junior.

    And again.

    Track 14 - No you don’t, son.  EVERYBODY should own this.  Closing out this in style.

    And again! Arg. But yeah... just HAD to close with this.



  10. On 5/2/2020 at 1:55 PM, felser said:

    1 - The template (if not the reality) is Blue Note, Freddie Hubbard, James Spaulding, Billy Higgins.  Awesome, and totally in my sweet spot.  Surely I have this?   If not, I’ll fix that pronto.

    Don't want to say too much about this one yet, but your Blue Note comment surely makes sense from an inspiration standpoint.

    2 - Doesn't do much for me.

    This was a recent discovery for me and it really spoke to me. But I wonder if one has to be in the right head space for it. Just having some sense of what you like, you may actually find yourself digging it if you give it a second chance. I could be completely wrong though.

    3 - Fascinating.  Surely I have this?

    Surely! Possibly! :)

    4 - Fun on the surface.  More troubling if you consider the lyrics too closely.  No clue, but very accomplished musicians.

    The bari solo is what does it for me. Absolute killer.

    5 - Reminds me of some of the cool things Billy Bang does.  I do like it, though not into the guitar solo.

    For me, the guitar solo is one of my favorite things about it!

    6 – Another one that sounds very familiar, and it owes its existence to Ornette Coleman.  Again, surely I have this. 

    You probably do. Massive Ornette influence! And TK ID'd this above.

    7 – Well, that’s the Pharoah Sanders groove, though it’s not him.   Two keyboards.  Also reminds me of Marion Brown from “Sweet Earth Flying”.  Ah, got it, it’s the title track from Marion Brown’s “Vista”.  Great stuff when you’re in that mood.  Very sweet album.

    Yep! I do love this one myself.

    8 – “All The Things You Are”.  I can’t do the singer, whoever it is, sort of sub-Carmen McRae

    It is in fact Carmen McRae, a vocalist who I am ashamed to say I really only got into relatively recently.

    9 -  “Hi-Fly”, but that’s certainly not Randy Weston.  Doesn’t really knock me out, despite the obvious talent.

    Not Hi-Fly, not Weston. Other comments above...

    10 – Influenced by Dolpy but sounds to be much later.  Not bad.  David Murray-ish.

    This has been ID'd, and I'm sure you know it.

    11 – I liked this at the start, but then it sort of lost my interest as it went on.  

    Interesting, where it really gets going for me is after the 3:30 mark.

    12 – It’s good and all, but not overly compelling to me.  There’s so much of this sort of thing around.

    True, but I'll take it. :)

    13 – Duke’s “Come Sunday”, nice enough version.

    Yep! This has been ID'd above.

    14 – Back in my sweet spot. “Evod” by Ari Brown Live at the Green Mill.   Sounds like it has to be from the 70’s, doesn’t it? But it’s much later.  Really like the intensity Brown plays wit .   Actually not totally sold on the rhythm section, and the Rhodes is poorly recorded, part of the hazard of a live recording.   But still something I’m glad to own.  The horns are doin’ it!    Sounds like the whole group listened carefully to the Joe Henderson/Woody Shaw/George Cables  Lighthouse recordings.  Brown does great work with his own group and in the Ritual Trio.  And he played with Elvin Jones, though I don’t have any of those recordings.

    Right on! A couple people have commented on the rhythm section here, but I like 'em. Though Ari of course is really the center of everything here.

    Great BFT, thanks Tim!   7 and 14 are gems I’m glad to have.  Love # 1, surely it’s on my shelves somewhere.   Await ID’s/reveals on 1/3/5/6!



  11. Finally catching up a bit here...

    On 5/2/2020 at 9:15 PM, Milestones said:

        On #8 everyone would recognize the song:  "All the Things You Are." I'm thinking that the singer is not American.  Maybe French?  A lot of space given to various band members, who all sound good.   But I have no guess here.  

    This one has now been ID'd above.

        Number 9 is “Jitterbug Waltz.”  Reminds me of a bit of Art Tatum, though someone without Tatum’s chops.  Still, this is clearly a very skilled player. I don’t usually gravitate toward solo piano, but this is some nice stuff. 

    Your Tatum comment is very relevant, that's all I'll say for now. :)

        On #10 I'm not sure about the instrument.  It sounded like soprano sax at first, but maybe some kind of clarinet.  I like how the performance is very concise.  To me this has something of a Steve Lacy quality in concept and feel, though the reed player does not sound at all like Lacy.  

    This one has been ID'd also. It is a clarinet, and your Lacy comment makes sense to me at least partly because Grimes & Lacy recorded the famous "School Days" a couple years prior to this record.

          Number 11 This seems both bouncy and avant garde.  No guess. 

    If someone ID's this one I will both be surprised, and jump for joy! It's a longtime favorite of mine.

    Number 12:      Here’s another that's in the Ornette mode.  That sure as hell sounds like Ed Blackwell doing the drumming.

    It sure is Blackwell! And this one has now been ID'd as well.


    On 5/2/2020 at 9:32 PM, Milestones said:

    Number 13:  This was identified as “Come Sunday.”  It is certainly a most unusual version, surprisingly brisk in tempo.  Good stuff, particularly Cedar’s solo; and I would have mistaken Junior Cook for Joe Henderson.

    I love this whole record...something about it is just magical to me, a cut above some of the other stuff coming out at this time.

    Number 14:  I can’t guess on this one.  The rhythm seems a little rigid, but that’s a nice brawny tenor solo.

    This one has also been ID'd. This track came up on my shuffle not too long ago, and I hadn't heard it in a while but was completely knocked out by it.



    On 5/2/2020 at 8:45 AM, JSngry said:

    That ain't Fluffy Hunter.


    That's a cool cover. This is, as I'm sure you know, the original version. But I have it on an LRC compact disc with a different cover and title, as seen here: https://www.discogs.com/Carmen-McRae-Velvet-Soul/release/2593669

  12. Damn, I think Thom broke the BFT! :lol: 

    I figured you'd get a lot of them this month but wasn't quite expecting THAT. Oh well... :)

    Some great guesses and comments all around, and I have more of my own comments to add, but work is mighty crazy at the moment. Will come back next chance I get and write more...

    1 hour ago, tkeith said:

    Well, sax players were never really known for keeping the best company.  :excited:

    Hmmmm... I thought that was bass players? 

  13. Thanks for your comments! You have some great observations. The bari solo on #4 might just be one of my all-time favorites! It's not Ulmer on #5. And your comment on #6 is right on, in terms of the Ornette influence, and you're correct that it's not him.

  14. Wow, some really interesting reveals here. I can't believe #5 is Rahsaan!! I really liked that, even moreso when I went back later to relisten. Also surprised at #6, I didn't really care for that one but do generally dig Hemphill. #7 had my interest too. I should really be a lot more familiar with the Either/Orchestra than I am. There was a lot of great stuff here... I am also adding the Muhal and the Ahmed Abdul-Malik to my want list. Track 8 -- haha! :lol:

    Thanks so much for your efforts putting this all together. A fun BFT!

  15. 18 hours ago, barnaba.siegel said:

    There's a new batch of Deep Jazz Reality - a collection of Tribe's albums, mostly Wendell Harrisons'.

    The most interesting is definatyle the 2CD "A Message From The Tribe". The second CD is full of alternate mixes (which is a bit of a bummer, as there are no outtakes or live tracks, but still - some 70's music was a bit too rough and new mixing could resurrect it, like Stanton Davis on "Isis Voyage")


    Wow. Thanks for sharing that! I already have most of the Tribes in various formats, but since "A Message From The Tribe" is one of my all-time favorites, I think I need this 2 CD version. The P-Vine CD that came out a bunch of years ago consisted in large part of alternate vocal takes and mixes (unintentionally, I think), so I'm guessing that's what makes up the bonus disc here. The mastering on that P-Vine CD was horrible though, so I'm hoping this is a step up!

  16. I'm pretty sure I used to have Focal Point! Not sure what happened to it. Gone with a few other things that have mysteriously disappeared over the years...

    Thanks for your responses. There are a few cuts here I may go back to and try to guess at again. Lots of great listening here!

  17. Here are my thoughts as they occurred to me while listening:

    Track 1 - Definitely has an infectious feel to it. Gotta love that walking tuba! This is not normally my kind of thing, but I like this. Holy trombone solo, Batman! Though I was a bit fearful when this track started I gotta admit its won me over! A cool modern version of music from another era. I wouldn't be surprised if some of these guys weren't avant-guardists, actually. Huh, maybe this is even Lester Bowie? I don't know the Brass Fantasy stuff super well, but that would not shock me.

    Track 2 - This again is from an era and style I don't typically listen to. I appreciate it but it doesn't reach me as much as some other things do. But I like this overall. Not sure about that organ though.

    Track 3 - That's a great trumpet intro, very free and expressive. Oh wow, that's interesting... is that an electronic keyboard? Love the melody line that comes in with the horn & vibes. Really interesting orchestration...this is surprising. I thought it was going to go into a pretty straightforward big band thing but this is taking some really fascinating turns. I really dig this vibes player--that's a hell of a solo, some nice exploring. Trumpet player has a great sound. I think this might be a different trumpet player than who did the intro though? Hmmm...no, maybe not. Ooooh...cello! Hang on, if that's not Diedre Murray I'll eat my hat. Hold everything. It just hit me... is this Muhal?? I don't have this record, but I think I know this...one of his larger group recordings on Black Saint. I need this.

    Track 4 - You had me at flute. And now you have me again at: cool feel and horn backgrounds. This sounds vaguely Gerald Wilson-esque to me, but maybe that's because I just listened to some Gerald Wilson last night. I like this. Changing my mind about Wilson, he usually features more soloists and this seems to be all about the flute player, who is very good. Nice track.

    Track 5 - So, fantastic piano intro, into... harp and cello, alright! And more flute, yeah that ain't bad. What a lush sound on this track. As it goes on, it's very pleasant but it's not totally grabbing me in terms of emotional impact. Ah, it finally really starts cooking at the 7 minute mark where they change up the feel-- suddenly the horn player is on fire and the whole thing lights up. I kinda wish they had done that a few minutes ago! :)

    Track 6 - I had to start this one over because I realized I was spacing out. There's a LOT going on here. I'm both intrigued by the arrangement and also feel like there's a bit too much going on. There's no space here at all, nothing to grab on to. I don't know what's going on with all those horn backgrounds...there's just way too much and they stick out like a sore thumb, leaving no room for the soloist or anything... yeah...I dunno...this is not working for me.

    Track 7 - I love the piano player's approach on the intro--rootsy, not too flashy, just right. Reminds me of Waldron or Tapscott. Not sure that I absolutely love the composition, but the solos are fantastic. And here we come to the piano again, wow... yeah, I'm guessing the pianist must be the leader. That's where I'm hearing the overall concept coming from anyway. Again, holy trombone Batman! That's badass. Whoa. Definitely wasn't prepared for that change, just after the 5 min mark. Can't tell if that was really necessary. Overall I really like this track and this group though!

    Track 8 - This is a bit too over-produced for me, it almost has that GRP kind of feeling to it. A bit hipper than that, but I mean it's just too clean and "safe" I guess. The band is a little too uptight and the drummer's sense of swing is definitely not the same as mine. This one just isn't for me.

    Track 9 - The sax player sounds familiar to me. Definitely a unique group sound here, I'm having trouble placing it in context...the sax player sounds more contemporary/smooth leaning, then there's the Bitches Brew-esque guitar, effected keys, the chordal stuff going on in the electric bass...I'm not sure what to make of this. There are hints of a "grittier" direction and that's what I'm trying to latch onto. I think I'm much more interested in what the rhythm section is doing than I am in the sax player, who definitely has a confident sound, but isn't really telling me a story and just doesn't seem to fit here. The guitarist, on the other hand, IS going somewhere. That's a great solo. I think this would be a much stronger track without the saxophonist. I hear a great group plus maybe a "guest saxophonist" who doesn't fit in, to my ears.

    Track 10 - This is fun. Older style but it sounds like a more modern player. Not a style I'm super familiar with, but this is enjoyable.

    Track 11 - Cool instrumentation, once again. I do like the violinist a lot, and he/she sounds vaguely familiar somehow. I dig the subdued feel of this, it cooks along nicely. The piano solo is very tasty indeed. Okay, that other instrument, what is that...is that a kora? Really great flute solo at the end. This is pure class. It alternately sounds like something from around 1960, and then something from this decade. Really love this track.

    Track 12 - You like flute, and so do I. :) This is a nice track with a bit of a spiritual feel to it, I love the sections where they hang out on the pedal and it builds. Very Tyner-esque. Okay, hang on-- that IS The Real McCoy. Hell yes...this is really good. No guess on the other players. I like the drummer's feel a lot, the production is a bit interesting in the bass drum department, which makes me think Cobham or someone like that, but I dunno...it actually doesn't really sound like him. Anyway, this is great.

    Track 13 - That's definitely Steve Swallow on bass. This must be Carla Bley. I'm no expert, but it has that feel to it. I've had trouble getting into her stuff, but I think that's my own personal problem honestly. This is a really nice track. She has such a strong concept and sound. Even if it doesn't always appeal to me personally, I have a lot of respect for it. Sometimes I just have to make myself sit down and listen to it. I love what's BETWEEN the notes here, that's where the interest is. 

    Some really great stuff here, a diverse and engaging set of music for sure! Thanks so much for your efforts in putting this together! 

    10 mins later: Oh wow, now that I see what has been guessed... that doesn't seem surprising on #11 at all. Based on this, and what little bits I've heard from him before, I definitely need to check more of his stuff out. Can't believe I didn't get #4! And I now know why the sax player on #9 didn't speak to me at all... :)

  18. Thom, I think you may have played me some of "Coward" also. I forgot James Carter was on it! And I notice Shamie Royston's name on there too... I have an album of hers that I like a whole lot. I've always been a fan of Ginger Baker's playing but for some reason know very little of his jazz output. I need to listen to more.