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Everything posted by cannonball-addict

  1. BFT 38 - Disc One Answers

    A start....more coming Bruce Barth - A Joyful Noise (For JW) composed by Steve Wilson MaxJazz 2001 Barth - piano; Terell Stafford - trumpet; Steve Wilson - alto/soprano saxes; Ugonna Okegwo - bass; Al Foster - drums Bruce Barth is one of my favorite living pianists playing straight-ahead jazz. For my money, he's just as good as anyone out there (save Dave Burrell, Vijay Iyer, and Herbie Hancock - but none of these guys fit nicely into any one sub-genre of jazz). I put him up there on the level of pianists like Mulgrew Miller, John Hicks, Kenny Kirkland, Jacky Terrasson, Frank Kimbrough, Kevin Hays, Rick Germanson, Michael Weiss, Dave Kikoski, etc. This is a recording I purchased online after seeing Bruce play with a saxophonist named Tim Armacost in DC at Blues Alley. His technique, craft, and soulfulness blew me away. I will never forget that night because in a moment of intense improvisation, the piano bench gave way and he fell backwards off the stage. With Steve Wilson and Terell Stafford as well as Al Foster on the drums, this band is unstoppable. "A Joyful Noise 'For JW'" was written by the saxophonist Wilson. The latter part refers to the late James Williams, whom many of the cats on the NY scene today both miss a lot and owe a debt of gratitude (for his unending support and caring for young musicians). Wilson (who came to prominence playing with Chick Corea, Dave Holland's Quintet, and with Mulgrew Miller. He recently replaced Tim Ries in Maria Schneider's reed section (in the Alto 1 chair). I wanted to include some music from his CDs as well but I thought this song best represented his sound and style. But some would appreciate his alto playing more, which is equally if not more fiery. I recently saw Wilson with org board member Michael Weiss at the Kitano Hotel in NY and the band was really smokin'. Weiss and Wilson have a long working relationship that Mike can tell you more about. Steve Swallow - Deconstructed (WattXtraWatt) Personnel: Swallow - elec. bass; Steve Cardenas - elec. guitar; Chris Potter - tenor sax; Ryan Kisor - trumpet; Adam Nussbaum - drums This track was chosen by mistake. I meant to choose another track off this CD called Lost in Boston but oh well. I am not terribly partial to this track but I do very much enjoy Steve Swallow's bebop for the electric bass writing style. And these players - Chris Potter, Ryan Kisor, Steve Cardenas play the parts very well. My favorite Swallow disc which I didn't include here because I thought it would be too obvious and since I already included Potter in the BFT elsewhere (as a leader). But Adam Nussbaum's ability to really groove with Steve is remarkable. On the electric bass, I don't think there's been any better player since Jaco passed. Ayse Tütüncü Üclüsü - Panayir The inclusion of this track is explained above. It's spooky and I like that in my jazz. I also like celebrating jazz' international status as an art form. I always love discovering cats in other countries that I am totally no hip to. It amazes me the amount of music that we have no clue about that is always being made. This is part of a much larger connundrum of the vacuum in which jazz exists within the greater lexicon of music (recorded and unrecorded)....spooky...
  2. BFT 38 - Disc 2 (Discussion)

    Hi guys. Again, sorry this is late. I hope most of you have the CDs or have downloaded the files from yousendit links which I posted on the sign-up thread. Anyways, this disc also has a theme of a particular instrument but is not absolutely hard and fast. Matt
  3. J. Defrancesco/G. Wilson/H. Laws/K. Burrell

    I heard Kenny Burrell will be recording a live album for Blue Note as a one-off to be released in '07. Steve Kuhn just recorded a recent string of dates with Ron Carter and Al Foster at Birdland for future release on Blue Note. Matt
  4. Joe Lovano's Streams of Expression

    everyone should check out this site that Bret Primack made for Joe specifically to promote this release. it's a great tool. I wish all releases had this kind of behind-the-scenes stuff. apparently most of the videos are on YouTube too. Matt
  5. BFT 38 - Disc 1 (Discussion)

    I hope most of you have the BFTs. If not the rest are on their way and people in Europe can distribute to each other per my instructions. Sorry shit got out so late. Enjoy! Disc 1 is mostly featuring a specific instrument but its not exhaustive. Matt
  6. BFT 38 - Disc One Answers

    It's a great CD! I heard it at my boss' office. He has a buddy at EMI in NY who is Turkish who turned him on to this stuff. I love the spooky Eastern sound of all this stuff. Terrific and perfect for a BFT! Stumped everyone!
  7. BFT 38 - Disc 1 (Discussion)

    Answers have been posted. I have been really busy in work and my personal life lately so I apologize for the gap between saying they would be posted and actually getting around to posting them. I am slowly working on my comments which will be very long-winded and personal. Matt
  8. BFT 38 Sign Up

    Please PM me with requests for my BFT (#38) to be sent to you with email address and your postal address. Even though I've been out of the loop for a little while now, my test is just about ready to go. I would appreciate duplicators in Europe and such. I know Big Al is often a help to others with sending packages and the like. Big Al? Matt
  9. BFT 38 - Disc 2 (Discussion)

    I really find a lot of Jackie Mac annoying with his sound his signature wailing intonation/inflection, but this recording, which I discovered recently, really hit the best parts of his playing. If he played like this on everything I think I'd like him a lot more. So just my tribute to him. And Freddie Redd ain't too bad either...
  10. BFT 38 - Disc 1 (Discussion)

    Preparing an answers thread. Should be up by Sunday. I think everyone who is gonna comment has done so. If not please speak up. Matt
  11. BFT 38 - Disc 1 (Discussion)

    Ok. Enough of this. My feelings are not hurt. I am a grown man. Let's move on. I don't want this to become another hijacked thread. Matt
  12. BFT 38 - Disc 1 (Discussion)

    Your comments were nice ubu. I forgot to list you in that short list. I was a little upset that Dan decided to write it off immediately as music that didn't grab him. But then again Dan is a hardcore Blue Note freak - I've seen his collection of BNs and Mosaics. I guess its hard to hear people dis music you like a lot. Matt
  13. BFT 38 - Disc 1 (Discussion)

    I have to say I'm a bit disappointed with some of the remarks. I hope that with my responses you'll get an idea why I like these musicians so much. Some of the tracks, I admit, I threw on without carefully picking the best track from the album but alot of that time it was because I didn't want to put standards on this BFT and I think there is really only one - part of track 9 on this disc. Anyways, I look forward to more thoughtful responses like those posted by reylyles, tooter, big al, and mike weil. I think you will all be pleasantly surprised at some of your guesses, which have been correct. Track 1 thankfully has been guessed correctly. This is one of my favorite songs in jazz from the last 10 years. I think it's the gospelish quality, the person it's dedicated to, and the fact that these musicians work together so much that their playing really gels nicely and you hear their empathy for one another. Track 2 has also been correctly identified. One of my favorite groups. I wish I had been around listening to jazz if and when they ever toured as this ensemble. The trumpet player was a surprise to me with these other guys, given the company he generally keeps. ;-) I would be pretty shocked if anyone got Track 3 since these musicians were totally unbeknownst to me until I heard it one day at the office. It's definitely mid-Eastern but might not be from where you initially think of. Actually, now that I think of it, it wouldn't surprise me if one of you Europeans or Russians out there got it a side note: I wish more people cared to sign up for this stuff so I could spread the word on some of these younger unknown players. Track 4 has been quasi-guessed. But not definitively. I've probably played this song at least 50 times on my computer and more on my ipod. These guys are the future of the music, IMO. Track 5 is a track that is new to me, but definitely one that caught my attention the first few times I listened to the CD. I do agree that it goes on a bit too long to sustain interest, but I wanted you guys to know that this guy exists (and that I really dig the ostinato figure in the pianist's left hand). The leader is a local musician but has played with some big names during his career. Track 6 is a doosie (sp?)/(American idiomatic expression for something difficult). Unless any of you are really up to date on your young cats, you will not guess who the leader or the supporting players are. I think the tenors really go at it good and the bassist is extremely competent. This CD is a gem and was recently picked up by Fresh Sound after I had received it for review for All About Jazz a couple years earlier in self-released form (I never wrote about it on the site, but keep meaning to). Track 7 I have talked about a lot on this bboard. The trumpet player should be familiar but the others are not so recognizable, and it's a very large ensemble on this track so its difficult to pick out individual players. I love the bouncy feel. Track 8 is a new pianist who you've never heard of unless you're aware of the Canadian scene. And Nate Dorward (a Canadian aware of the jazz scene there) hasn't yet heard the BFT as of tonight. But Nate, I hope you guess it because we've talked about this guy before (I think). A beautiful song, IMHO. Track 9 is a very famous pianist. I am actually quite shocked no one has gotten it yet. But I trust one of you will. There were other tells in this disc that I had to avoid in order to keep his identity a secret. Track 10 has bee correctly guessed. But by who? Track 11 does have Mark Whitfield on it, but this was not his date. It's from a much broader CD with a host of players who were big in the 90s as young lions. The leader is a very in-demand sideman in America and those of you outside the US, have surely seen him on tour in Europe as well. Another young guy whose talent is promise for the future of the music. That's all for now. I hope this commentary helps while not giving too much away.
  14. BFT 38 Sign Up

    This post has been updated with refreshed links for downloading for the next 10 days BFT 38 CD 1 - Disc One BFT 38 CD 2 - Disc Two Happy downloading! Matt
  15. BFT 38 - Disc 2 (Discussion)

    Correct, correct, and correct. Any impressions anyone else? Matt
  16. BFT 38 Sign Up

    This post has been updated with refreshed links for downloading for the next 10 days BFT 38 CD 1 - Disc One BFT 38 CD 2 - Disc Two Happy downloading! Matt
  17. Milestone Celebrates 40th Anniversary

    from a press release I just got: Concord/Fantasy Celebrates Milestone Records’ 40th Anniversary In celebration of Milestone Records’ 40th Anniversary, Concord/Fantasy proudly announces the release of retrospective collections by five of the venerable label’s most extraordinary artists – Sonny Rollins, McCoy Tyner, Joe Henderson, Jimmy Smith and Jimmy Scott. When legendary producer Orrin Keepnews founded Milestone in 1966 – with the assistance of pianist/producer Dick Katz – the fledgling label valiantly forged against the currents of a rapidly changing environment that threatened the very existence of straight-ahead progressive acoustic jazz. In the late sixties, the rapidly growing influence of progressive rock as an art form, coupled with Miles Davis’ bold explorations into electric music signaled hard times ahead for those artists who were committed to the pure jazz tradition. Previously hardcore jazz labels like Blue Note, Impulse and Verve abandoned their founders’ ideals and attempted to follow the trend into the commercial mainstream. Milestone provided a fertile haven for those seriously committed artists who refused to surrender to the trend. By 1972, when it joined the Fantasy group of labels, Milestone boasted a roster that included a good number of Jazz’ most formidable talents, including Tyner, Rollins and Henderson, along with veteran altoist Lee Konitz and upstart reedman Gary Bartz. For 40 years Milestone has continued to mine the richly diverse veins of the Jazz tradition with artists like Smith, Scott, Ron Carter, Jack DeJohnette, Hank Crawford, Flora Purim and Jerry Gonzalez’ Fort Apache Band. The five single-disc retrospective includes some of the music’s finest and most renowned musicians accompanying the five master artists who are featured in this release. Sonny Rollins’ 35+ year relationship with Milestone is spanned in its entirety with Skylark from his first Milestone album, Sonny Rollins’ Next Album, and Why Was I Born? from his 2006 Grammy Award-winning Without A Song. The remainder of the collection contains the tenor sax titan’s familiar tradition of combining brilliant originals (Biji, Global Warming, Duke of Iron) with an eclectic array of standards (Tennessee Waltz, Autumn Nocturne, Where or When and The Moon of Manakoora). Sidemen include pianists Tommy Flanagan and Stephen Scott; drummers Jack DeJohnette, Tony Williams, Al Foster, Kimati Dinizulu; and his current group of trombonist Clifton Anderson, drummer Perry Wilson and longtime bassist Bob Cranshaw. McCoy Tyner’s extremely prolific output is well represented with selections from nine different albums. The line-up of sidemen is a virtual who’s who of progressive Jazz, including reedmen Sonny Fortune, Gary Bartz, John Stubblefield, Frank Foster, Benny Maupin and Ricky Ford; brass players Freddie Hubbard, Slide Hampton and Oscar Brashear; flautist Hubert Laws; vibist Bobby Hutcherson; bassists Ron Carter, Stanley Clarke and Buster Williams; drummers Elvin Jones, Tony Williams, DeJohnette and Billy Hart; and percussionists Airto, Mtume, Bill Summers and Guilherme Franco. The piano giant’s expansive musical vision is on full display from solo piano on Naima, the deeply moving tribute to his mentor John Coltrane, to large-scale ensembles on the string-driven Song of the New World and the nine-horn Search For Peace. Three-horn ensembles are featured on Sama Layuca and One of Another Kind; powerful quartets deliver Ebony Queen and Enlightenment Suite, Part 1: Genesis; and the trio format offers The Greeting and another Trane staple, Impressions. All nine Joe Henderson albums are mined for his collection, which provides some tastes of Joe’s soprano sax and flute stylings along with his muscular tenor sax. Live dates from Tokyo and L.A.’s landmark Lighthouse respectively provide Out ‘n’ In and the Kenny Dorham classic, Blue Bossa. A 5-piece rhythm section fuels Black Is The Color (Of My True Love’s Mind), while the more traditional 3-horn sextet is featured on No Me Esqueça and the funky groove of Mamacita. Large ensembles of multiple horns and extended rhythm drive Gazelle and Canyon Lady. The Bead Game and Black Narcissus employ piano, bass and drums. The stellar array of sidemen includes trombonists Julian Priester, Curtis Fuller and Grachan Moncur III; trumpeters Woody Shaw, Oscar Brashear and Snooky Young; pianists Herbie Hancock, Kenny Barron, George Duke, George Cables and Don Friedman; bassists Ron Carter, Dave Holland and Stanley Clarke; and drummers Louis Hayes, Lenny White and DeJohnette. Jimmy Smith’s short, but highly productive stint at Milestone produced two studio dates and three live recordings, all represented in this collection. The renowned West Coast arranger Johnny Pate produced, arranged and conducted the six-horn and rhythm ensemble (including legendary reedman Buddy Collette and guitar hero Phil Upchurch) on ‘Round the Corner and the title cut from Sum Serious Blues. Upchurch also plays on the leaner Here Comes C.T. from the Prime Time album. From that same recording comes the timeless Ellington rollicker, C Jam Blues. The electric-powered tenor sax of Eddie Harris is featured on a revisit to Smith’s Blue Note hit The Sermon, recorded live at the Keystone Korner (from All The Way Live). The Blue Note days are further recalled by the reunion of Jimmy with the soulful tandem of tenorman Stanley Turrentine and guitarist Kenny Burrell, along with master drummer Grady Tate, on Midnight Special, Back at the Chicken Shack and Summertime – all recorded at New York City’s Fat Tuesday’s (from Fourmost and Fourmost Return). Balladeer Jimmy Scott’s collection is a change of pace. Not only is he the only vocalist and a Milestone artist only for two years (2000-01), but he emerged from relative obscurity to a personal renaissance with the four Milestone albums covered by this collection. A model of tenacity, dedication and perseverance, Jimmy Scott has consistently turned adversity into triumph. A rare hormonal deficiency that caused his uniquely high-pitched voice transformed into one of the most sensitive and expressive instruments in Jazz vocal history. Lovingly produced by Todd Barkan, these recordings enfold Jimmy’s distinctive voice with the highly empathetic support of a remarkable group of musicians, including saxophonists David ‘Fathead’ Newman, Hank Crawford and Eric Alexander; pianists Cyrus Chestnut, Renee Rosnes and Larry Willis; guitarist Joe Beck; bassist George Mraz; and drummers Grady Tate and Lewis Nash. The arrangements are by Scott, Tate, Beck, Barkan and Robert Sadim, and cover 11 popular songs from The Great American Songbook – Smile, Moonglow, Mood Indigo, Without a Song, Darn That Dream, You Don’t Know What Love Is, Strange Fruit, Pennies From Heaven, How Long Has This Been Going On, If I Should Lose You, and Please Send Me Someone To Love. The original dates were mostly produced by Orrin Keepnews and the compilations were assembled by Nick Phillips, Vice President, Jazz and Catalog A&R for the Concord Music Group, which acquired Milestone in 2004. Each collection also contains a bonus disc featuring an additional track from each of the five artists, along with one additional selection each by Flora Purim, Jim Hall & Ron Carter, and Hank Crawford & Jimmy McGriff.
  18. BFT 38 Sign Up

    A warning - I recently had my handle changed to reflect the name of my radio show, which is called the Jazz Clinic. Another warning - the discs have not really gone out yet despite a previous post saying otherwise because of the holiday and other stupid reasons like having to wait in ridiculous lines at the post office. I have been sending the BFT (which is 2 audio discs) to certain individuals by and it's been working for them. There are 9 packages going out for sure in tomorrow's mail. Please post here if you've already received anything from me by email as a zip file. I will be sure not to include you in the physical mailing. Any questions PM me. Sorry for the delay. I hope you all enjoy this. There is no real theme except for some instruments being featured over others. Matt
  19. BFT 38 Sign Up

    So far I've only received replies from Nate Dorward Dan Gould mikeweil The Magnificent Golberg relyles stereojack Bright Moments I assume others want in. Initial mailing is going out tomorrow. Note: I would really prefer to save money on postage and packaging by sending the files out individually via AIM or Skype or which allows me to send an attachment of anything less than 1 GB to any email address. This will allow you to get the files quicker, have them on your computer, and if you wish, burn a disc and listen wherever. I am just real low on cash right now and I am on the computer all day and night. Matt
  20. Making a Blindfold Test

    How do I make a blindfold test using iTunes if all my songs are already properly coded with all the appropriate metadata? Can I strip tracks of their info and then regain the info after making the CD? Is it best not to use iTunes to make a BFT? I only have a Mac. I thought about assembling an audio file by importing stuff into Audacity but half the stuff I am trying to import to Audacity does not transfer over (common message is something along the lines of 'file not recognized'; try importing as raw data). Then sometimes the data is imported but when I try the track out it whizzes by in 1 or 2 seconds (i.e. speeds up the song ridiculously so that I can't use it). Why is this happening? Generally how do you all recommend making a BFT with a Mac? What software is best and easiest? Matt
  21. Jazz Podcasts

    Leave it to Bret Primack to one-up everybody in the jazz world.
  22. Jazz Podcasts

    1. DD Jackson's podcast is pretty ok. A bit self-indulgent and promotional but better than a lot of the poseur crap out there. 2. Just last night, while browsing the JazzCorner, I found a link to Robin Eubanks' amazing new site which includes links to the audio of his podcasts - a new feature of the site. There are a total of eight so far. They're actually available on iTunes - just go to Podcast Directory and do a search for Robin Eubanks and it will come up. Anyways, the content on Robin's podcast is really good - stories from the road and such - and some music...not much though. 3. Also, another one I came upon is the Gotta Say - Live Jazz podcast by PhillyC (produced out of Rochester). It's pretty darn good. For iPod/iTunes users, you can automatically get updates to any podcast by simply clicking on the "Subscribe" button in iTunes. iTunes will save your subscription and download the latest one automatically whenever its been put up online. When you've finished listening to them you can either keep 'em or throw them out. I recommend throwing them out if you're low on hard drive space like me because many are long and thus are large files. Some of the NPR music podcasts last over an hour. But those are not exclusively jazz - mostly trendy hipster stuff that I need to listen to as a college radio music director, just to make sure I'm ahead of the hipster curve. Fuckin Bob Boilen. Douchebag. Will repost when others come to mind. My Podcast wish list: Tzadik Records Podcast Herbie Hancock Podcast Larry David Podcast Albert Mangelsdorff Podcast Karl Rove podcast an official Blue Note Podcast Sunnyside Records podcast Idris Muhammad podcast ....add your two cents....
  23. For Sale

    All the following titles are relatively new and are $8: Elvis Costello Live with the Metropole Orkest - My Flame Burns Blue (Deutsche Gramaphone, 2006) Jimmy Smith w/ Stanley Turrentine - Prayer Meetin' (Blue Note Records, 2004 RVG Edition) All the following titles are $6: Willie Bobo - Juicy (Verve Records, 1998 reissue) Joe Farrell - Moon Germs (Columbia/Legacy (CTI), 2002 reissue) Pat Martino - Think Tank (Blue Note Records, 2003) Wallace Roney - Misterious (Warner Brothers, 1994) Buddy Tate w/ Torsten Zwingenberger Swingtet (Nagel Heyer Records, 2002) Bennie Wallace - The Old Songs (Audioquest, 1993) All the following titles are $5: David Berkman - Communication Theory (Palmetto Records, 2000) Marc Cary - Trillium (Jazzateria Recordings, 2000) Herbie Hancock - Empryean Isles (Blue Note Records, 1987 reissue) Freddie Hubbard & Jimmy Heath - Jam Gems: Live at the Left Bank (Hyena Records, 2005) Keith Jarrett - As Long As You're Living Yours (RCA Victor/BMG, 2000) Bob Mintzer Big Band - Old School, New Lessons (MCG Jazz (Telarc), 2006)
  24. For Sale

    Revised list posted
  25. The show in Pittsburgh two nights ago went swimmingly. I saw LWayne there along with over 200 other miscreants and societal rejects. It was amazing! Read my blog about it here: my blog -