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BFT 27 - DISC ONE ANSWERS


JSngry

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Y'all oretty much nailed this one, just as I had anticipated. The only ones that weren't specifically ID'ed were #s 10, 16, & 17. And I believe a few people said that #10 could be/might be/sounded like/whatever Oliver Nelson. Close enough.

Still, it was a gas reading all the commentary, and partaking of some pretty different viewpoints of the same piece by different individuals. Made for some good reading. Thank you all! Hope the discs made for some equally good listening.

And now, on with the show...

TRACK ONE – “How High The Moon” by Brother Jack McDuff

From Prestige 7642, I Got A Woman (LP)

Jack McDuff – org, Harold Ousley & Red Holloway – ts, Pat Martino – g, Joe Dukes –d (Recorded 2-?-1966)

As some of you noted, this one just screams “OPENER!!!!” It almost made my last BFT, and I wasn’t going to let it escape again. Ousley does indeed sound a little out of sorts, but nothing too drastic. Everybody else is hitting on all cylinders, and Dukes cracks me up with his show-biz antics. The whole things got a show-biz vibe to it, actually, and no musical integrity is sacrificed in the process. These are all players who were well-seasoned in the art of playing for people, not at them, and I for one find this kind of stuff impossible to resist. As also noted, the arrangement is really nifty, not getting in the way of the jamming one whit. It actually enhances the solos, setting them up and providing a subtle episodic flavor to what could have been just another run-through on some well-worn changes. I particularly love the ending, which is just a little bit wacky, and which also sets up the possibility of anything happening next.

Even this...

TRACK TWO – “Cheesecake” by Louis Armstrong

From Pickwick 33 SPC 3229, Mame (LP)

Louis Armstrong – tpt/vcl, Buster Bailey-cl, Tyree Glenn –tbn, Marty Napoleon – p, Alfred Di Lernia - banjo, Buddy Catlett –b, Danny Barcelona-d (Recorded April, 1966)

Well! it seems that you either love it or you hate it. If you hate it, you probably find it to be a demeaning piece of tripe not worthy of such a great talent and cringe at the image of perhaps the most important musical figure of the 20th century mugging his way through it, banjo (BANJO!) and all. If you love it, you probably think it’s a piece of wacked out, borderline surrealistic nuttiness, possibly conceived of while Pops was enjoying a visit from Mr. Muggles.

Put me down in the latter camp. I can’t listen to this without laughing out loud, and not in mockery, either. Kids love it, too, as evidenced by some of the responses. Mine do, too, and have for years! Yeah, it’s pretty lightweight in the grand scheme of things, but then again, a good smile is nothing to sneeze at! Check out Buster Bailey’s deadpan phrasing behind the vocals, and I think the intent becomes clear – these guys were playing it for grins all around, and not least of all their own!

And speaking of grins...

TRACK THREE – “Guajeo De Saxons” by Cachao Y Su Ritmo Caliente

From Panart 2092 – Cuban Jam Sessions In Miniature “Descargas” (LP)

Israel Lopez (Cachao) – b, Emilio Penalver – ts, Virgilio Lisama – bs, Guillermo Baretto – Bateria – bateria, Tata Guines – tumbadora, Rogelio “Yeyo” Iglesias – bongos, Gustavo Tamayo – guiro (Recorded 1957)

I find this one totally irresistible, not just for feel, but for musical specifics. “Listen to my saxes, what rhythm they have” is the translated mantra of the corro, and what rhythm they have indeed! Not a jazz rhythm, either, but a distinctly Afro-Cuban one. Listen to how everything about their playing is so deeply inside the beat, and to how every aspect of their sound, from their attacks to their embellishments, springs from the notion of their horns being another ingredient in the delicious rhythmic stew.that’s being concocted around them. Especially interesting is how the traded fours between the horns begin, not on the first bar, as in jazz, but with a pickup into that bar. To me, this reveals a different concept of where “one” is than jazz has, and it’s a concept that is distinctly African. Much jazz has a subliminal African phraseology, but the Cuban cats invariably have it explicitly.

Also, the Panart label was to pre-Castro Cuban music (of all varieties) of the 1950s what Blue Note was to Hard Bop during the same decade. For those interested in this type of music, I can’t recommend an exploration of that catalog strongly enough, especially the various “Cuban Jam Sessions”, of which this one led by Cachao is the most famous. If you’re having just one, this would be the one to have, but why have just one?

Now, speaking of unique rhythmic sensibilities, tunes that begin with solo saxophone, and unusual trading of fours...

TRACK FOUR – “Cosmet” by Sonny Rollins

From Milestone M-9064, Nucleus(LP)

Sonny Rollins – ts, Bennie Maupin – ts & saxello, Raul De Souza – tbn, David Amaro – g, Chuck Rainey – el b, Eddie Moore – d, Mtume – perc (Recorded September, 1975)

This is one of the good’uns that got left off the Silver City set. Rollins is not in particularly heavy exploratory form here, but geez, is he into the tune physically (you should see the back-cover photo of him – his biceps are the size of my thighs, almost!). That tone occupies a room of its own! And his phrasing, especially when he’s playing those slightly displaced longer note is just so precise, so keen, everything happens at exactly the right microsecond. Listen to the little thing he does at 1:26 – talk about flying through the air with the greatest of ease! Plus, he speeds up and slows down his interior time at will, never losing the beat or killing the groove (if anything, his slight-of-ear enhances it). Then there’s all the little micro-moments where his time just dissolves completely into pure sonic energy. Truly, this is a master at work.And, it’s neat to compare the way that Sonny uses alternate fingerings on some notes for to create a more percussive effect with how Emilio Penalver uses the same device on the previous cut. It’s a “tenor thing” that has its roots in Lester Young, but the ways its been put to use over the years cover more ground than the wind. Sonny uses them to create a solo that has the tenor sounding not like a mere horn, but like a freakin’ force of nature!

But he’s not the only one getting his groove on here – De Souza sounds fine, Maupin turns up the heat on saxello (with the rhythm section following him beautifully), and then the fours begin. What a glorious mess this turns into! Sonny comes in full-throtle, De Souza picks up the ends of Sonny’s lines for the beginning of his own, and Maupin, now on tenor decides to take it a little bit out, in a way very reminiscent of Sonny from the decade before. Things get a little tangled up, and everybody lets Maupin have a little spot of his own before Sonny most emphatically calls everybody home.

It’s a totally groovy cut in my book, and you can dance to it just as easily as you can the previous one. I really like the effect created by the guitar/electric bass/congas/drum rhythm section here, too. Just a nice big rowdy wall of groove, with the relatively transparent sound of the guitar not interfering with any spur-of-the-moment harmonic detours that anybody might want to take.. Nothing subtle at all about it, but damn, if you want to play hard, loose, and loud for a little while, here it is. And as Sonny’s solo shows, there’s plenty of room for tremendous amounts of subtlety while playing non-subtly!

TRACK FIVE – “Gone With The Wind” by Morris Brewbeck with Sol Desman (others not credited)

From Argo LP-4006 – Morris Grants Presents JUNK (Jazz University's New Kicks)(LP) (Recording Date not given)

What was that?

Well, yeah, What WAS that?

Hell if I know, and nobody else seems to, either, except for Jack Tracy, and he didn’t answer my e-mail... (Although, I’ve heard a rather reasonable – but entirely speculative - suggestion that Don Elliot was involved at some level). But it’s a hoot of a send-up that is at once blatant and subtle. This is one of those “cult classics” that I searched for years to find, finally getting it from Da’ Bastids within the last year or so. Some of the parodies are over-the-top, some are just plain cruel in their accuracy, and at least one, the performance by “Ornette Morris with Mon Cerie”, is pretty damn interesting on its own terms. You gotta hear it to believe it.

That’s all I can say.

TRACK SIX – “The Man I Love” (excerpt) by The All Stars

From Decca MCAD-42329 – Gene Norman Presents JUST JAZZ (CD)

Charlie Shavers – tpt, Willie Smith – as, Corky Corcoran – ts, Barney Kessell – g, Tommy Todd – p, Slam Stewart – b, Jackie Mills – d (Recorded 8-4-1947)

From a bogus live show to a real one. LOVE this cut, LOVE this CD. One of those times when it was all good for all concerned. Shavers just kills here (so much pure POWER here, and of every type), but really, everybody does.

It’s Kessell, though, who intrigues me the most. Still young, still a lot of Oakie in his soul, and still working with a comparatively limited vocabulary, but damn, is he INTO it. There’s an intensity to his playing here that borders on compulsiveness, and that compulsion is to PLAY, and that he does. It’s not in the least bit “relaxed”, but oh well. It damn sure SWINGS! A little-noted early masterpiece by this great guitarist, imo.

For that matter, this whole concert is a great but often overlooked one. It’s famous (and justly so) for the Lionel Hampton solo on “Stardust”, but what the rest of the guys played w/o Hamp is every bit as good. A highly recommended set, but it might be currently OOP. Don’t let that stop you from looking for it.

TRACK SEVEN – “Sack Full Of Dreams” by Gene Ammons

From Prestige PR 10022 – My Way (LP)

Gene Ammons – ts, Ernie Royal & Robert Prado – tpt; Garnett Brown – tbn; Richard Landry – ts, Babe Clark – bs, Billy Butler – g, Ron Carter – b, Idris Muhammad –d, Patricia Hall, Linda Wolfe, Yvonne Fletcher, & Loretta Ritter – voices, unnamed strings, Bill Fisher -arranger/conductor (Recording Date not given, but album released ca. 1970-72)

Ah, the early 70s – big cars, big hats, big clothes, big everything, including big soul. And who had bigger soul than Gene Ammons? Sure, the “sweetening” is all over this one (and it’s not so much “sweet” as it is just plain ol’ BIG), but what’s underneath it all is about as solid as you can get (dig how Idris Muhammed takes fellow New Orleansian Vernell Fournier’s “Poinciana” beat as the basis for his HARD playing for much of the piece). Besides, Jug always played for the people - what the people were into is what he played, and he always played it his way. This cut is no exception. It’s a tune by Gary McFarland that had been popularized a little bit by Grady Tate & Donny Hathaway (in his live shows), but Ammons’s version is definitive, imo, removing all the “sap” from the lyrics and replacing it with 100% Soul of the 200 Proof variety. Whereas the other versions were a little “sentimental”, this one is REAL. Big, indeed!

This album’s not on CD, probably never will be, and frankly, this cut is by far and away the highlight of it. But lordhavemercy, it’s one helluva cut, totally of its time yet totally timeless (we all need to get in touch with our Inner Mack...). If we had more Soul People like Gene Ammons playing “pop-jazz” like this, the world would be a much better place.

TRACK EIGHT - “I Got It Bad (And That Ain’t Good)” by Archie Shepp

From Impulse! AS-9186 – For Losers (LP)

Archie Shepp – ts, Clarence Sharpe – as, Cedar Walton – p, Wilbur Ware – b, Joe Chambers – d, Chinalyn Sharpe – vcl (Recorded 8-26-1969)

I can only assume that Chinalyn Sharpe was Clarence Sharpe’s wife, and as such, this cut more than makes up for in reality what it lacks in finesse. C. Sharpe was one of the many, MANY players who didn’t vanish from the face of the earth after they vanished form the radar screen of the jazz world. He kept on playing, and as he shows here, he was playing incredibly well, taking his Bird-isms and growing them into something deeply personal and not at all clichéd or imitative.

And what did he get for it? A life spent on the fringes, a lot of low-profile, low-paying “local” gigs (best kept secret in the jazz world is the fact that, away from the high profile jobs, there’s a “local scene” going on smack dab in the middle of The Jazz Capital Of The World, New York City. and it’s at least every bit as frustrating, dirty, and soul-eating as any local scene anywhere. Probably more so, considering what’s going on just down the street and around a few corners...). Some of the temptations of the “jazz life” no doubt were not strangers to the Sharpe household, if only as a way to blunt the frustration as the years passed and everything stayed, unfortunately, the same. Except that the music got deeper. But who got to hear it?

So yeah, this cut rings true to me, and not a little painfully so. Yet, there is more to it than pain. There’s also the inner bliss that comes from knowing that no matter how much you get shit on, you’re still doing what you want to do the way you want to do it. Shepp called this album “For Losers”, and it’s a bit of a concept album to my ears, the concept being that the “losers” like Clarence Sharpe are in fact the heroes of their time. Still my favorite Shepp Impulse!, all things considered, and still not reissued on CD. The irony is rich...

But hey, kwitcherbitchin’ and smile, because....

TRACK NINE – “Everything’s Coming Up Roses” by Count Basie and his Orchestra

From Harmony HS 11371 – Just In Time (LP)

Marshall Royal, Bobby Plater – as; Eddie "Lockjaw" Davis, Eric Dixon - ts; Charlie Fowlkes, bs; Roy Eldridge; Al Aarons, Gene Goe, Sonny Cohn - tpt; Richard Boone; Harlan Froyd, Grover Mitchell, Bill Hughes – tbn; Count Basie – p, Freddie Green – g, Norman Keenan – b, Ed Shaughnessy – d; Chico O’Farrill – arr (Recorded 9-8-1966)

No real musical reason to include this here (although Jaws’ is great, as always), just thought that it would be a wiseguy type sequencing move, good for a grin. But fwiw, Basie supposedly specifically requested that Shaughnessy play on both of his Command albums. Go figure.

TRACK TEN – “Self-Help Is Needed” by Oliver Nelson

From Flying Dutchman FDS-116 - Black, Brown And Beautiful (LP)

Frank Strozier – as; others not credited, but likely including Bobby Bryant – tpt, Roger Kellaway – p, Chuck Domanico – b, John Guerin – d (Recorded ca.1969)

Blues And The Abstract Truth may well be Nelson’s small group masterpiece, but Black, Brown And Beautiful is every bit a masterpiece, this time of Nelson’s composing/arranging. This cut is a fine example.

I’ve always thought that Oliver Nelson was one of the great musical subversives of his time, able as he was to incorporate dissonance into all sorts of “commercial” settings without so much as raising an eyebrow from the general public. Well, here the setting is a little less commercial. This album was Nelson’s direct comment on the racial turmoil going on in America at the time, replete with explicitly political, self-penned liner notes. Nelson’s commentary on this piece:

I have always felt that the Federal Government wasn’t going to do a damn thing and American Blacks were going to have to do it themselves. However, you can’t have a foot on your neck making it impossible for you to have the chance to help yourself. That seems logical – doesn’t it?

The surface of this piece is fairly straight-ahead, modern big-band. But listen to the inner voicings, especially in the saxes behind the brass’ theme statement. We’re talking EXTREME dissonance here. Every big-band piece on the album’s like that – straight-ahead on the surface, tense as hell on the inside, even moreso than usual on a Nelson date. And he did it in Los Angeles, no less. In spite of how Nelson’s work and sound permeated all levels of mass-media in America, at its core was this tension, this knowing that things weren’t as they should be, but not knowing how, when, or even if, they would get better. So he soldiered on, playing the game on the surface, speaking his mind on the inside of it. Pretty heavy stuff, really...

And Frank Strozier, what can you say? He’s another guy who just kept growing away from the spotlight. Nothing at all “easy” about his playing here, just as there’s nothing at all easy about the writing (and I’ve had the pleasure to play some of Nelson’s arrangements, so I mean that in terms of playing them right as well as what their “meaning” is). Despite how it sounds on the surface, this is THICK music.

But now, to lighten up a little bit, we move on to a consecutive series of what could best be described as four “curiosities”, the type of things that make the concept of “Blindfold Tests” so much fun. None of them are the type of thing you’d normally associate with who they are, but they all work just dandily on their own terms. At least they do for me.

TRACK ELEVEN – “Hi-Fly” by Lionel Hampton

From Hindsight HSR-237 – The Uncollected Lionel Hampton Septet 1963 (LP)

Lionel Hampton – vb; others not credited (Recorded 1963)

Recorded for some U.S. Navy promotional show, this (and all the other cuts from this album) are very short. Short, but sweet. Who’d ever think about Lionel Hampton, the quintessential extrovert/exhibitionist Swing Era/proto R&B transitional figure turning in a nice, mellow, thoughtful, thoroughly non-stylized rendition of this Randy Weston evergreen?

Well, quiet as it was kept (as much by himself as anybody), Lionel Hampton was one of the great players in jazz history. This guy played Coltrane tunes like “Lazy Bird” & “Moment’s Notice” like they were the proverbial pieces of cake, just breezed through the changes like it wasn’t any big deal. Didn’t seem like anything phased him. It seemed that for him, it was all music, and that if you could play, well, you could play any changes. Changes was changes. “Hi-Fly” is not an especially difficult set of changes by modern standards, but how many players of Hamp’s generation could’ve played them as fluently, nonchalantly, even, as he does here?

Hey – Lionel Hampton could PLAY!

TRACK TWELVE – “Ugh” by The Mercer Ellington Septet

From Doctor Jazz 40359 – Duke Ellington – New Mood Indigo (LP)

Paul Gonsalves – ts. Chick Corea – p, Aaron Bell – b, Louis Bellson – d; (NOTE – Ray Nance – tpt, Johnny Hodges – as, & Harry Carney – bs are present on the other cuts from this session) (Recorded 1-5-1966)

Yeah, it’s really “Windows”. My guess is that this title was bestowed by original LP annotator Stanley Dance, but I can’t prove that. No matter, another short-but-sweet “curiosity”, and quite possibly the first recording of this soon-to-be Instant Classic (perhaps even shortly after it was composed, I don’t know. Perhaps Chick got this recorded to serve as a demo of the song?). Nothing to say, really, other than that it’s beautiful people making beautiful music, and how Chick got his tune played at an Ellington session, even a Mercer Ellington session, is a story that I’d like to hear.

TRACK THIRTEEN – “Moon Maiden” by Duke Ellington

From Pablo 2310-787 – The Intimate Ellington (LP)

Duke Ellington – celeste & vcl (Recorded 7-14-1969)

Really thought that more people would recognize Duke’s voice, but I guess if you’re not of the age to have heard him fairly often on TV while he was alive, and/or if you haven’t spent a lot of time with any number of the innumerable live recordings of his, that voice might not be instantly recognizable. Guess I’m older than I realize!

Anyway, this one has always tickled me, and it’s just a little out-there in spots. But Duke was an avant-garde-ist in populist clothes anyways, so no surprises there! The celeste reminded a few people of Mr. Rogers, and, yeah, I can hear that – if Mr. Rogers was on the Playboy Channel!

Now, from one sex song to another...

TRACK FOURTEEN – “Mountain Oysters” by Eddie “Lockjaw” Davis

From King KS-1133 – Risky Blues (LP)

Eddie “Lockjaw” Davis- ts, others not credited (Recording Date not given)

One of the most uniquely identifiable musical voices of the 20th century, regardless of the context. And one of the swingingest. And one of the nastiest.

Nothing more to add, except that, as with many other types of meat-preference, in Texas, we use beef instead of pork. Or so it seems. I’ve not yet summoned the courage to partake of this particular delicacy. Some day, perhaps.

Or not...

TRACK FIFTEEN – “Time After Time” by Shirley Scott Quartet

From Impulse! A-9101 – The Definitive Jazz Scene Volume 3 (LP)

Shirley Scott – org, Stanley Turrentine – ts, Bob Cranshaw – b, Otis Finch –d (Recorded 9-23-1964)

If I had to pick one cut that to me was the epitome of what the Turrentine/Scott partnership was all about, this would be it. Good god, can you get any more relaxed and natural? No, you can’t... And the interaction between the two principles just oozes the give and take, push and pull, you go this way when I go that way of the conjugal relations of a married couple, OOoooooh baby....

Speaking of natural, as great as RVG’s work for BN was, there are times when I think he actually did better work for Impulse!, and this is one of them. Not “perfect” (do you hear how he opens Turrnetine’s mike over halfway into Scott’s intro and just EXPANDS the soundstage all of a sudden?), but I’ve never hear Stanley’s tone captured more intimately – there are moments when you can literally hear his breath just before a note comes out, and it’s all in perfect relative balance with his overall volume. Hope this came across in the digital transfer of this CDR.

Anyway, something was brewing in the studio that day, something mellow...

TRACK SIXTEEN – “Jax Beer Commercial” by Patty Waters

From Water 137 – You Thrill Me (CD)

Patty Waters – vcl, Joe Newman – tpt, others not credited (Recorded 1964)

Yep, that’s Patty Waters, her of the gut-wrenching, spine-tingling ESP sides, doing a beer jingle with Joe Newman, replete with a little “empty” spot there for anybody who’d like to do a little ad copy writing and/or voiceover work (hint, hint...). The same Patty Waters who repeatedly and rawly screamed “BLACK” in one of the great recorded cathartic moments of 20th century history is here singing about Moody’s Mood, Shearing’s Riff, and The Little Things That Make The Diff.

Life is funny sometimes...

TRACK SEVENTEEN – “For All We Know” by Patty Waters

From Water 137 – You Thrill Me (CD)

Patty Waters – vcl, Alan Youngblood – p (Recorded 1979)

Yep, that’s Patty Waters, her of the gut-wrenching, spine-tingling ESP sides, doing an incredibly poignant and intimate rendition of a song that’s already incredibly poignant and intimate to begin with. This was 1979, when nobody knew where she was, or if she was even still alive. Well, she was alive, and had probably gotten “damaged” along the way from there to here, and here she was. The same Patty Waters who repeatedly and rawly screamed “BLACK” in one of the great recorded cathartic moments of 20th century history is here singing about just love me tonight, that’s enough to last forever, because forever might be over any second now, and I need to be loved by somebody before it is and I want it to be you. And she sounds like she means (and has lived) every last word of it as much as anybody has ever meant (and lived) anything.

Life is funny sometimes.

Edited by JSngry
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TRACK FOURTEEN – “Mountain Oysters” by Eddie “Lockjaw” Davis

From King KS-1133 – Risky Blues (LP)

Nothing more to add, except that, as with many other types of meat-preference, in Texas, we use beef instead of pork. Or so it seems. I’ve not yet summoned the courage to partake of this particular delicacy. Some day, perhaps.

Or not...

Bullocks!!

Come now, you must! If I've had them up in the north at some pseudo BBQs then I'm sure any joint in your neck would beat them hands down - and courage is aplenty considering BFT 26 part deux. :g Rams' are best.

I knew this one only from the Proper Box I got Dad for Father's Day last. LockJaw loved hangin' around that kitchen!

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Re Track One: So that was King Curtis! I take it Red plays the head and the solo after Geroge Benson - the first solo is Curtis.

I'm going to look for this record.

My bad - it's HAROLD Ousley, dammit. (geez, looking right at the g.d. record and typed the wrong Ousley anyway. WTF? :rmad::rmad::rmad: )

Good luck finding the LP. I found it in 1972 in the cutouts of a Gibsons Discount Center and haven't seen it since. Probably will be an easier find up in your neck of the woods, but still...

Most (all?) of it's been scattered over some CD reissues.

The tracks are:

SIDE ONE:

1 - How High The Moon

2 - English Country Garden (w/Benny Golson's Big Band)

3 - Spoonin'

SIDE TWO:

1 - I Got A Woman

2 - Twelve Inches Wide

The liner noites say that Ousley plays on A-1 only, but there are definitely two tenors on A-3, Red and, I'm guessing by ear, Harold Vick. Soul Stream can probably set us straight on that.

(damn - Curtis Ousley? What a dumbass I am...)

Edited by JSngry
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Aha, Clarence "C" Sharpe.  I gather that Luke Kaven's got some tapes of some of his performances from his last years & plans to issue them in some form on Smalls Records--I look forward to hearing the results.....

In-VERY-deed! I've got him on a Clifford Jordan Big Band side on Mapleshade, and he f-in' kills on that too.

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Thanks for another interesting trip. Always enlightening to see from your perspective what makes certain tracks and the connections between them.

Couple of observations:

Never would have figured out it was Duke singing. Is the rest of that album as, ahem, "Intimate"? :g

On the Rollins track, isn't he liberally "borrowing" from one of those bop anthems at the start? That's why I said it was so familiar, even though it wasn't "complete".

Was the voiceover hint aimed at me? Sorry, I know my limitations ... ;)

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The Intimate Ellington is a collection of "workshop" tapes. Lots of really neat stuff on there, but nothing else like this!

Somebody pointed to a similarity between "Cosmet" & "Yardbird Suite", and harmonically, I can hear it. Melodically, though, I can maybe hear traces of "Bemsha Swing" & "Lady Bird", but I don't know that that's intentional on Rollins' part. Most of his compositions, even from the 1950s, have been based on little "in the air" fragments that he turns into tunes, and this one is no exception to my ears.

C'mon Dan, I'd LOVE to hear you doing "Feel like your oppressive parental upbringing is conspiring with your exploitative lover to split your head open into a side-long Primal Scream? Then RELAAAAAX with the cool, clean taste of mellow Jax beer. Because no matter how fucked up it gets out there. there's always something MELLOW brewing here!".

Or something like that. The space ain't THAT long! :g:g:g

Edited by JSngry
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Re Track One: So that was King Curtis! I take it Red plays the head and the solo after Geroge Benson...

:huh: George Benson? I know this was a controversial subject, but as I posted after actually looking in the prestige discography, I think my hunch (that this guitarist's phrasing was reminiscent of Pat Martino) was correct. :D I probably should have been more blunt about it, but this being a BFT and all... :ph34r: I had that impression before seeing Martino identified the discography, and before it was indicated that Martino was identified on the CD release, so I'm pretty confident about it now. Of course, discographies can be wrong, so Benson, Eddie Diehl, Glen Campbell, and Roy Clark are still possibilities...

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Re track 1, here's what the Prestige discography has:

Jack McDuff:

Red Holloway (ts),Jack McDuff (org),George Benson (g),Joe Dukes (d) acc by big band directed by Benny Golson (arr, cond).

New York, February __ 1966

walk on by....................... PR 7476, PR 7771, 45-399

talking 'bout my woman.............-.........-........45-423

jersey bounce.........................-.........-

too many fish in the sea............-.........-........45-399

Red Holloway (ts),Harold Ousley (ts),Jack McDuff (org),Pat Martino (g),Joe Dukes (d) (1)=Holloway out

New York, February __ 1966

haitian lady.............................PR 7476

for those who choose....................-......45-423

song of the soul (1)......................-

the live people..........................PR 7492

stop it.....................................PR 7529

more (1)...................................PR 7567

that's when we thought of love.........-

how high the moon............PR 7642 (= "I GOT A WOMAN")

chicken feet..............................PR 7666

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Well, if I'm remembering correctly, the two tenor solos come back-to-back, with a not so subtle splice between them. Red's got the first one, and he's unmistakable. The second cat doesn't sound anything like Red, but it sure does sound like Vick.

So, I dunno...

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TRACK THIRTEEN – “Moon Maiden” by Duke Ellington

...The celeste reminded a few people of Mr. Rogers, and, yeah, I can hear that – if Mr. Rogers was on the Playboy Channel!

:lol:

=====

As expected, this was a blast... went by too quickly... didn't it? :unsure: Jim, thanks for the music, the laughs, the education, and for sharing your passion so eloquently. :tup:tup:tup:tup:tup

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Well, if I'm remembering correctly, the two tenor solos come back-to-back, with a not so subtle splice between them. Red's got the first one, and he's unmistakable. The second cat doesn't sound anything like Red, but it sure does sound like Vick.

So, I dunno...

O.K...I'm gonna hafta listen and break it up.... :g

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