BFT 37 disc 1 - discussion

[Big Al]

As well as the NBA and NHL finals here in the States!

[Mr. Bassman]

Now it's my turn ... and no bubbles

... beside this, Mike "ordered" me, not to write only about the "guess-who-plays" ... i try...

No. 1.

I had the chance to listen to this tune some time ago ... in Mike's flat waiting for our band in case of practice.

At first i wanted to clean the record .... the idea is quite funny, an odd sounding old record of "all the things you are" mixed up with a little peace of groove-music. It is quite okay, but not very exciting. The music babbles a bit like a little creek.

No. 2.

Oh well, i think, i know this tune. Trombone and 2 string-Instruments, bass and cello. Maybe I have this one in my own collection, but don't remember. Beside this is a composition with many written notes (I think....) and they play sometimes a bit too academic, there are a lot of little fine things in this tune. For example, listen to the dynamics, there are many unexpected ups and downs, and sometimes they are not academic at all . One of my favs in this competition of interesting tunes.

No. 3.

Oh - oh. I am not very fond of this tune (sorry... i promised not to write in that manner, but i can't help...). Marimba, and a bass-clarinet (?) and a person (or two) who make(s) a lot of different rhythmic noises. Maybe they play with the hidden metronome, there is no life in this tune, it sounds a bit like some programmed stuff. Heard several times to this tune, but couldn't get a "message" from that tune ... to me ... not every tune needs a message, but this tune is more like listening to talking people from a distance... so you can't understand the words, you hear only a murmuring of words. No fun to listen to this tune, but this is only for me.

No. 4.

Maybe i know these musicians ??? It reminds me a bit of our Vienna-Visit. :rsmile: Well nice written peace with a bit of funk and swingin'. The place, where they play, must be very small, some cellar or so. The song is very interesting, when they play the more funky things, they build up a kind of tension and when they change to the more swingy-thing... they roll down the hill of tension, it's like a sysiphus-work.... up the hill... uh... sweat... and then... whoopee.... downhill. That my impression But, if this is the Vienna-Band, we listened together with rockefeller-center someday ago, i think that is part of the fun and the kind of humor they had in nearly every peace of music they played. Maybe i can borrow this CD in some days?

No. 5.

Hmmm, organ, e-piano and natural piano ? (One player or two ???) But a nice bass-solo, hmmm.... should know this musician at the dog-house. A phat e-pianosound... the good old stuff, eh? Not that elegant digi-sound equipment. What is this murmuring sound during the drum-roll- intro, someone's humming ? The drummer is playing a bit nervious for me. He seems to be a bit under stress or electrified (can you see the small sparks at his drumstick-tips ? They are cooking together, but somehow a bit convulsive, i miss the relaxing moment.

... and this are the first 5 tunes, the Rest will follow ... tomorrow

Yours

Mr. Bassman

Edited June 15, 2006 by Mr. Bassman

[mikeweil]

Oh, finally somebody not watching soccer .....

Since rockefeller center didn't show up so far, you get credit for guessing the "Vienna Band" ..... now someone else with a photographic memory might find the thread here where we agreed to meet and hear 'em ....

The "other CD" with the small band sounds better, and the playing is even crisper, but they are both spinning too often these days to give them away ...... maybe next year

That's one keyboard player on # 5, probably overdubbing. I like the groove of that drummer, although I wouldn't play like this - but I think it fits nicely with that piece. Maybe you don't like the noisy cymbals he uses.

So you finally remembered I played the first track to you, but do you remember who it is?

Looking forward to read more - wait until you get to the bonus disc!

[dutchmanx]

Played your CD seven or eight times last two weeks without any pleasure, just out of curiosity

I am afraid after five more listens it will go to the shelf ... for a month.

As usual I will know a lot of new artists when answers will be posted.

Andrew

PS Couldn't get thу main theme - am I dumb

Edited June 16, 2006 by dutchmanx

[mikeweil]

Played your CD seven or eight times last two weeks without any pleasure, just out of curiosity

I am afraid after five more listens it will go to the shelf ... for a month.

Don't give up so soon .... ..... I know my tastes are a little extravagant.

As usual I will know a lot of new artists when answers will be posted.

That's for sure!

PS Couldn't get thу main theme - am I dumb

No ..... king ubu got one half of the theme in one of his posts - the other half is the greater region where all this was recorded.

Edited June 16, 2006 by mikeweil

[king ubu]

What region could that be? The styles of the tracks is very diverse... from that sexy blues (pretty 'merican sounding, but that may be disguise... some of that "perfect BFT material", eh?) to the "ethnic" things... sounds like a collection of "displaced musics", rather than a compilation that could be pinned to one specific region...

Strange notion, just thinking aloud: is Gerhard Gschlössl involved with any of the bands/projects on this disc?

And last question: is #4 from that band that you went to see with RC? If I had more time at hand I might be able to find that thread, but taht wouldn't be fun, rather spoiling the fun!

[Nate Dorward]

BFT 37 comments

I think I’ll just say up front that I don’t think I can i.d. anything here. Sounds mostly like European ensembles, obviously all very contemporary tracks (judging from the recording quality and the actual music). I think the word I’d use for this compilation is “light”: not “lightweight” but in terms of mood and timbre.

1: A version of “All the Things” with a sense of humour and a few twists to the changes. I love the warbly old version that opens & closes it! My ear is more caught by the arrangement and the general vibe than the solos themselves. My favourite moment is the vamp with all the horns soloing at once right at the end. Maybe Mike can satisfy my curiosity about exactly what the drummer is using/doing to get that hiss like an opening bus-door on beat 4....

2: Trombone, cello and bass, it sounds like. It’s nice to hear how the theme gets extended or reworked each time it returns – the brief bits of improvisation are really part of that process rather than taking off into fully-fledged solos. Maybe Nils Wogram on bone, no guess as to the others.

3: Hm. Bass clarinet, marimba, and metal percussion/drums? An intriguing piece, presumably a one-off (at least, a full album of this instrumentation would be a bit much). Maybe a little tight and arranged for me – like most of (all?) the pieces on this compilation, it’s not just head solos head, it’s a carefully planned performance.

4: I like the old-but-new feeling here – on the one hand it definitely sounds recent, & that bouncy tuba/drum pattern (reminds me of Adam Nussbaum on the Bo Diddley tribute on Tactics!) wouldn’t be on an earlier record, but I was also reminded of a date like the Teddy Charles Tentet on Atlantic.... This one really has me stumped. Maybe recent work by a band that includes some older players? My favourite of the compilation so far. Pity the trumpet solo is pretty short, I liked that guy.

5: With a good-time groove like that you can get away with anything .... Another nice track.

6: Percussion, then a polytonal piano + tuned percussion head... I think I’ll have to wait for Mike’s comments to get the exact details on what we’re listening to. This one keeps surprising you, and I would have actually liked to hear them stretch this out more.... One of the more interesting tracks here.

7: Interesting how after listening to the last track I initially took the bass for tuned percussion (say a thumb-piano)! Not my favourite alto-sax sound (too tidy) but nonetheless an intriguing track.

8: Lovely slow two-guitar blues with some great unison bends.

9: Definitely the strangest track here. Sounds like some sampling, electronic augmentation, &/or overdubbing is going on, and this may well be a one-man band (or at least all the horns could be the same guy). Hm, what IS the lead horn exactly? Definitely a track on the “neato” rather than “substantial” side of the ledger... But, hey, it’s short.

10: The first track on here that I can’t say I’ve gotten much out of. Those synths give me flashbacks to the awful synth sounds on George Russell’s later albums. Trumpet player knows his Kenny Wheeler high-register stuff but it’s surely not Kenny? (though I know that KW’s done plenty of jazz-rock in his time). Don’t think it’s Ian Carr either.

11: Well, we’re certainly working through a lot of unusual corners of the music room on this BFT – surely the first BFT to feature jaw-harp? Pleasant Miles-style trumpet, & I like it when it gets into the sort of swing-groove-goes-Native-American halfway through.

12: Bach’s most annoying tune ... Oh, good, it was just the intro to, let’s see, “Nuages” in duo with alto sax. Now that’s an alto sax sound I like lots more than that on #7 and #10... call me old-fashioned, I guess I still prefer Bird’s descendants. No idea who this is, and though the instrumentation is completely unexpected it’s a lovely track.

13: Cello/piano version of “Joy Spring” with a touch of “Bemsha Swing” at the turnaround. It certainly takes the title literally, in terms of joy and springiness – a little too, um, bouncy and bright and tight for my taste. Hm, could be one of Lou Levy’s latterday albums I suppose, I know he liked to use cello. Nah, not Levy.

14: A nice ballad arrangement for vibes & big band, & really don’t have much more to say.

15: Our “outro”. I could have used more of this vibes player than the one on the last track! Is the fadeout & ghostly fiddle shapes at the end intended as a lead-in to the bonus disc?

[mikeweil]

BFT 37 comments

I think I’ll just say up front that I don’t think I can i.d. anything here. Sounds mostly like European ensembles, obviously all very contemporary tracks (judging from the recording quality and the actual music). I think the word I’d use for this compilation is “light”: not “lightweight” but in terms of mood and timbre.

Thanks, Nate, for these interesting comments - yours were among those I couldn't wait to read.

As far as the theme is concerned, within your first paragraph there is the first of the two words that make up this BFT's title - king ubu had the second word .....

1: A version of “All the Things” with a sense of humour and a few twists to the changes. I love the warbly old version that opens & closes it! My ear is more caught by the arrangement and the general vibe than the solos themselves. My favourite moment is the vamp with all the horns soloing at once right at the end. Maybe Mike can satisfy my curiosity about exactly what the drummer is using/doing to get that hiss like an opening bus-door on beat 4....

That sound comes from a "beat box", one of the first percussion computers made, I believe, around 1970. Eddie Harris used it around that time, on "Is It In" and "Instant Death".

2: Trombone, cello and bass, it sounds like. It’s nice to hear how the theme gets extended or reworked each time it returns – the brief bits of improvisation are really part of that process rather than taking off into fully-fledged solos. Maybe Nils Wogram on bone, no guess as to the others.

Not Wogram - actually this trombonist is a US expatriate, and the two others are French.

3: Hm. Bass clarinet, marimba, and metal percussion/drums? An intriguing piece, presumably a one-off (at least, a full album of this instrumentation would be a bit much). Maybe a little tight and arranged for me – like most of (all?) the pieces on this compilation, it’s not just head solos head, it’s a carefully planned performance.

Yep ..... "normal" clarinet and vibes are also used on this CD, which I find rather too short than too long.

4: I like the old-but-new feeling here – on the one hand it definitely sounds recent, & that bouncy tuba/drum pattern (reminds me of Adam Nussbaum on the Bo Diddley tribute on Tactics!) wouldn’t be on an earlier record, but I was also reminded of a date like the Teddy Charles Tentet on Atlantic.... This one really has me stumped. Maybe recent work by a band that includes some older players? My favourite of the compilation so far. Pity the trumpet solo is pretty short, I liked that guy.

Hah! The arranger will be proud that you mentioned the Teddy Charles Tentet. IIRC the oldest guys in this band are in their early forties.

7: Interesting how after listening to the last track I initially took the bass for tuned percussion (say a thumb-piano)! Not my favourite alto-sax sound (too tidy) but nonetheless an intriguing track.

Not a bass!

10: The first track on here that I can’t say I’ve gotten much out of. Those synths give me flashbacks to the awful synth sounds on George Russell’s later albums. Trumpet player knows his Kenny Wheeler high-register stuff but it’s surely not Kenny? (though I know that KW’s done plenty of jazz-rock in his time). Don’t think it’s Ian Carr either.

Well, it is Kenny Wheeler .....

11: Well, we’re certainly working through a lot of unusual corners of the music room on this BFT – surely the first BFT to feature jaw-harp? Pleasant Miles-style trumpet, & I like it when it gets into the sort of swing-groove-goes-Native-American halfway through.

Yeah! Great comment!

12: Bach’s most annoying tune ... Oh, good, it was just the intro to, let’s see, “Nuages” in duo with alto sax. Now that’s an alto sax sound I like lots more than that on #7 and #10... call me old-fashioned, I guess I still prefer Bird’s descendants. No idea who this is, and though the instrumentation is completely unexpected it’s a lovely track.

My wife loves this track - her favourite alto sax sound. Unfortunately the guy plays piano on the remainder of the album ....

15: Our “outro”. I could have used more of this vibes player than the one on the last track! Is the fadeout & ghostly fiddle shapes at the end intended as a lead-in to the bonus disc?

Yes, and you can hear this vibist on two tracks of the bonus disc as well!

Edited June 16, 2006 by mikeweil

[mikeweil]

What region could that be? The styles of the tracks is very diverse... from that sexy blues (pretty 'merican sounding, but that may be disguise... some of that "perfect BFT material", eh?) to the "ethnic" things... sounds like a collection of "displaced musics", rather than a compilation that could be pinned to one specific region...

Read my comments to Nate's post .....

Strange notion, just thinking aloud: is Gerhard Gschlössl involved with any of the bands/projects on this disc?

No!

And last question: is #4 from that band that you went to see with RC? If I had more time at hand I might be able to find that thread, but that wouldn't be fun, rather spoiling the fun!

Hehe .....

[Nate Dorward]

Aha, so that was Wheeler..... Hm, could be that UJRE band I suppose. He did a lot of work in jazz-rock bands in the 1970s but this track sounds more like the 1980s or 1990s....

Hm, expat trombonists.... Glenn Ferris or Marty Cook? I'm just guessing now, I don't know their music well at all.

Amazing that a guy who plays alto sax like that would spend the rest of the album playing piano! I hope he plays it as nicely as that!

[mikeweil]

Aha, so that was Wheeler..... Hm, could be that UJRE band I suppose. He did a lot of work in jazz-rock bands in the 1970s but this track sounds more like the 1980s or 1990s....

Not that band, and not a jazz-rock group - rather a one-shot recording ensemble. (I never liked that UJRE ....)

Hm, expat trombonists.... Glenn Ferris or Marty Cook? I'm just guessing now, I don't know their music well at all.

You know your musicians very well! Decide on one of the two!

Amazing that a guy who plays alto sax like that would spend the rest of the album playing piano! I hope he plays it as nicely as that!

I will have a re-listen and report.

Edited June 16, 2006 by mikeweil

[Mr. Bassman]

Oh, finally somebody not watching soccer .....

Since rockefeller center didn't show up so far, you get credit for guessing the "Vienna Band" ..... now someone else with a photographic memory might find the thread here where we agreed to meet and hear 'em ....

The "other CD" with the small band sounds better, and the playing is even crisper, but they are both spinning too often these days to give them away ...... maybe next year

That's one keyboard player on # 5, probably overdubbing. I like the groove of that drummer, although I wouldn't play like this - but I think it fits nicely with that piece. Maybe you don't like the noisy cymbals he uses.

So you finally remembered I played the first track to you, but do you remember who it is?

Looking forward to read more - wait until you get to the bonus disc!

Just a few words... soccer was finished at that time

I don't remember the details for track 1, sorry.

Hehehe.... i had a short "listening-IN" to the Bonus-Disc.... i really know a few of the tunes but this will come inside the right thread.

and here i go on:

No 6.

Really not my fav, this tune. It is a bit overconstructed for me, there is a bit influence of minimal music ? Is there a steeldrum or something else ? Marimbaphone at the end ? Maybe it is fun to play this tune, but listening is tiring. There are some other special instruments in this, but i don't recognize them clearly.

No. 7.

A nice and interesting bass-line, a hot-cooking-tune, very energetic for me, when listening to it (did that several times). The saxophone is a bit "nervious" The tune reminds me to a chase or something like that, and i have a little feel of Africa (just an impression), the drum solo is a bit like talking drums, story telling eh? The group reminds me a bit to Dave Hollandish works (He had trio-recs with drums and saxophone), but i am not that sure, but the same "open feeling impression" when listeing to the music. But maybe I am totally wrong ?

No 8.

Ahhh, after that energy-drink take 7 gave to me, a relaxing long drink . Two guitars, well, hmmm, not the slightest idea, but they play in a fine way, not too dirty scofieldish, for me. The bass is an electric one, and must have at least 5 strings (or 6?), there are some very deep tones there. The drummer has a fine drumset, it sounds dynamic and the cymbals have a natural sound. These musicians must had a cool afternoon, a lot of relaxation and fun in doing this stuff. I like this even more, when listeing again and again. I think , I know one or two of them ???

No. 9.

A strange thing... big fat drums and a lot of blowing. Very sophisticated tune, these ever-turning-riffs, hmm. Its not my kind of fav. tune. Can't say much more.

And now to something completely different.....

tomorrow i will add the rest ... promised

regards

Mr. Bassman

[mikeweil]

Just a few words... soccer was finished at that time

..... but was listening finished?

No. 7.

A nice and interesting bass-line, a hot-cooking-tune, very energetic for me, when listening to it (did that several times). The saxophone is a bit "nervious" The tune reminds me to a chase or something like that, and i have a little feel of Africa (just an impression), the drum solo is a bit like talking drums, story telling eh? The group reminds me a bit to Dave Hollandish works (He had trio-recs with drums and saxophone), but i am not that sure, but the same "open feeling impression" when listeing to the music. But maybe I am totally wrong ?

There is a connection between this trio and the Holland groups.

No 8.

Ahhh, after that energy-drink take 7 gave to me, a relaxing long drink . Two guitars, well, hmmm, not the slightest idea, but they play in a fine way, not too dirty scofieldish, for me. The bass is an electric one, and must have at least 5 strings (or 6?), there are some very deep tones there. The drummer has a fine drumset, it sounds dynamic and the cymbals have a natural sound. These musicians must had a cool afternoon, a lot of relaxation and fun in doing this stuff. I like this even more, when listeing again and again. I think , I know one or two of them ???

Probably not .....

So much for this meeting of internet night owls ...

[Nate Dorward]

Ah, Glenn Ferris of course--he's recorded several albums with that cello/bass format for Enja.

The jazz-rock big-band track is the leadoff track off this one.

Will turn my attention to the bonus disc later tonight or tomorrow--probably less to say about it, as my guesses about the classical music tracks wouldn't be at all informed (nice to hear some stuff on period instruments & with historical tunings, though!), aside from track 9 which I spotted immediately (from a great album by a former folk-rock bassist, though it's a pity that the album has such an indifferent title....).

Edited June 17, 2006 by Nate Dorward

[king ubu]

So the theme, then is "euro grooves"?

And that's Glenn Ferris... he's great, but I don't know lots of his recordings. On the most recent Lateef album "Influence" (on BFLat, co-led with the French Belmondo brothers), he appears as guest on CD2 and turns in a few terrific solos!

Never heard the guy with who's band Wheeler's featured... waiting for some recommendation in the answer comments, Mike!

Pity I misplaced the discs... haven't even had a chance to hear the bonus disc yet, and hardly any time to tidy up and look for it right now

[mikeweil]

Ah, Glenn Ferris of course--he's recorded several albums with that cello/bass format for Enja.

The jazz-rock big-band track is the leadoff track off this one.

..... aside from track 9 which I spotted immediately (from a great album by a former folk-rock bassist, though it's a pity that the album has such an indifferent title....).

3 points scored by our man in Toronto! :tup

Edited June 17, 2006 by mikeweil

[mikeweil]

So the theme, then is "euro grooves"?

European Groove, to stick to the exact formulation that I got from the first track. "Groove" in a wider sense, not just the rhythm.

Special point to our man in Zurich!

And that's Glenn Ferris... he's great, but I don't know lots of his recordings. On the most recent Lateef album "Influence" (on BFLat, co-led with the French Belmondo brothers), he appears as guest on CD2 and turns in a few terrific solos!

I loved his plying from the first time I heard him with Don Ellis' Orchestra. Nice to see he's alive and well in Europe and playing better than ever!

Never heard the guy with who's band Wheeler's featured... waiting for some recommendation in the answer comments, Mike!

Will do!

Pity I misplaced the discs... haven't even had a chance to hear the bonus disc yet, and hardly any time to tidy up and look for it right now

[Stereojack]

1. At first I thought Mike was having a little fun, starting off with this ancient sounding track, but apparently it’s part of the actual recording, since it reappears at the end. I don’t get the joke, as to my ears the piece has nothing to do with “All the Things You Are”. I have no idea who this is, but in places I was reminded of Mingus, but it’s almost certainly something much more recent. Once the cacophany starts, I’m gone!

2. Trombone, guitar and bass. No clues here, really didn’t say much to me.

3. More noodling, this time with marimba, bass clarinet, & percussion. Anybody ever heard Red Norvo’s “Dance of the Octopus”? The instrumentation is reminiscent.

4. This starts off nice, with the reeds & second-line drumming. It never seems to go anywhere harmonically, but maybe that’s the point.

5. This one doesn’t speak to me either, basically for the same reasons as #4.

6. Yawn.

7. I need some caffeine!

8. Where’s BB King when we need him? Some contemporary effects-laden guitarist playing the blues. The thing is recorded so that it sounds like two guitarists, but I think it’s a recording gimmick, Waiter, I’m still waiting for that coffee!

9.

10.

11. What’ve we got here, an electric jews’ harp? Putting aside the superfluous intro, this is pleasant enough, the trumpeter can play.

12. What’s Bach got to do with it? The intro is over the top, and doesn’t match the mood of the piece as it continues, but the Phil woods-ish alto is nice. A tune I know, but dammit, I can’t come up with the title! This is the first track that I can say I liked, at least in part.

13. “Joy Spring”. An annoyingly clever arrangement, with snippets of other tunes tossed in. Is that a cello? The player is certainly facile, but it all seems just a little contrived.

14. Now, this I liked. Is this Cal Tjader with Gary McFarland, perhaps?

15. Here we have music more to my liking, an actual tune. Definitely in the Milt Jackson camp, but this ain’t Bags. Finally in the last couple of tracks, we start to hear some music I can relate to, and the disc ends!

I held off responding for a week because I couldn’t think of much to say. Still, I know you put in some effort creating this set, Mike, so an “A” for effort.

[Stereojack]

12. What’s Bach got to do with it? The intro is over the top, and doesn’t match the mood of the piece as it continues, but the Phil woods-ish alto is nice. A tune I know, but dammit, I can’t come up with the title! This is the first track that I can say I liked, at least in part.

Of course, "Nuages"! I'm kicking myself for not remembering!!!

[JSngry]

Got my discs from Big Al (gracias, amigo!) early last week. Just now having some free time to listen. The usual thanks and disclaimers are, as always, firmly in place.

TRACK ONE - My, what an eclectic melange of influences. "All The Things You Are" modified in a less than totally traditional way by the "Giant Steps" formula over a (one-of-many) Mingusian groove, with a little vintage 78 sampling thrown in. Good enough, but in the end I was more impressed by the "on paper" aspect of the music than how the music reached me. Still, certainly not a straightforward regurgitation. I gotta conclude that the reason I wasn't particularly moved by this was that the players and I are probably occupying parallel (i.e. - non-intersecting) zones of interest/inspiration at this moment. No problem.

TRACK TWO - Certainly got a Giuffre thing going on. Might be him, but I don't think so. I hear trombone bari, bass, and cello. Very nice playing by all, very free in feeling while staying in the zone of the composition. that ain't no small feat, let me tell you... No idea as to who it is, and once again, I'm appreciating it more than really feeling it, but I've been going through some pretty strong attitudinal changes the last few months, so that means nothing as far as whether or not I thinkthe music's good. Hell yeah it's good!

TRACK THREE - Well, everytime I counted, it was in 7, which is how I was feeling it, so I guess I'm finally getting more intuitive about odd meters. Nice trio, nice chamber feel. Would this be Louis Sclavis? I like the way they attacked the music, keeping it quiet dynamically, but not so in intensity. Quiet fire, that's how it feels to me. A little less quiet wouldn't have offended me, but that's cool. They said what they had to say the way they wanted to say it, and that's all that counts.

TRACK FOUR - Nice, but the whole "Second Line Beat Under Modern Content" thing's become a little cliched for me anymore. I also hear some more Mingus influence, like on the first cut. Cool, but Mingus' shit always had an emotional passion that I just don't feel here. Drummer seems a little stiff, and that's a drag. Stuff like this needs to have a dance compulsion going on in order for me to feel it. This one makes me feel like I should sit down and listen to some people playing dance music for the purpose of not dancing to it. Sorry, but I'm not that advanced a human... Dug the trumpeter, though. Things loosen up a bit during the trombone solo, but not enough to convince me that these guys maybe oughta get outta the house more...

TRACK FIVE - All right, now this one has that dance propulsion going on. The tune itself doesn't really do too much for me, but oh well. Pianist is travelling once fresh but by now well trod roads, staying on the trail and going where the trail always leads. Bassist seems a little more in the moment. Good for him. Drummer really seems to be the real heart of the trio. Ultimately a little light in the content, but it's got a good beat and I can dance to it. I'll give it an 86, Dick.

TRACK SIX - Oh! A dissonant voicing of a traditional line. Now that's a new idea... Fortunately, he/she let go of that pretty quicly. No harm, no foul. Now we're getting into a conspicuously "African" use of cross-rhythms. That feels good, but dammit, here comes the dissonance again. Just can't let a good feeling exist w/o throwing in a little angst, eh? Too bad... Here come the drums....and it's more using of good feelings to express something other. Ok, it's good playing, and I know where they're coming from musically and emotionally, but it's just so not what I'm hearing and feeling these days. Not their fault, and not their problem.

TRACK SEVEN - not all that dissimilar to the previous cut in terms of macrotools being used, but this one feels a lot better to me. Altoist sounds very familiar. I should be able to call the name. This might well be Steve Coleman, who always delivers the goods for me. Yeah, this is good shit here! Jack on drums? Gimme som more of this, please!

TRACK EIGHT On my last BFT, one of the selections that didn't make the final cut was the title track from Richard Davis' Song For Wounded Knee, a trio of Davis, DeJohnette, and Joe Beck, that was very similar to this one. I really like this vibe, relaxed and "bluesy" w/o being all blatant and shit. Very "conversational", individually and collectively. Good stuff.

TRACK NINE - GREAT soprano tone! Started out thinking that this was going to be another one of those "too busy thinking about what you're trying to do to actually do it" cuts like #s 4 & 6, but dammit, they caught the groove and made it work throughout. Short & sweet too. More good stuff.

TRACK TEN - Sorta M-Base-y, might actually be from that orb. Loved the altoist, wasn't too crazy about the arrangement. Wasn't too bummed by it either, just seemed like early on the electronics were grafted on, and that the accoustic sound/texture of the ensemble would've been more effective if done at least partially electronically, as they were later on into it. Go figure... But yeah, this is nice, and I think that it's probably some players whose names I know and respect. The whole thing gains momentum and interest as it goes along too. This one's a keeper, all things considered.

TRACK ELEVEN - Very nice. Nothing at all "new" in the tune or the soloing, but the context negates that, maybe even makes that work in its favor. Of course, this basic format is the blueprint of The Ethnic Heritage Ensemble, but this is not them. Again, very nice.

TRACK TWELVE - "Nuages", of course. Really could do w/o the electic bassist's string noise... Good playing other than that, but, uh... I'm not sure what difference it makes other than that it's two people who play well.

TRACK THIRTEEN - Good cello playing, better than most, but again, not sure what difference it makes. Been there, done that, and w/o a rhythm section that's a little too enthusiastic. Sorry.

TRACK FOURTEEN - OOOH, NICE writing and blend! "The Meaning Of The Blues", of course, a tune that Gil immortalized w/Miles and then, a few decades later, in a ElectroTechnicolor version featuring George Adams. The recording of the bass positions this as a post-60s version, and the vibist has a very Bags-ish tone, but it doesn't feel like Bags, not at all. He's much less nuanced and much less rhytmically subtle (Bag's rhythmic sense was one of the most fluid of all time, quiet as it's kept...). The arrrangement's the strong point of this one for me. Very nice.

TRACK FIFTEEN - Interesting drummer, seems to be bringing some subtle Brazillian touches to an otherwise run-of-the-mill jazz waltz. Appreciated the fade, and the surprise ending insert even more!

Thanks to Mike for a very diverse, (mostly) non-cliched collection (and for a few other surprises!). Didn't get a hardon for some of it, but I'd rather be non-moved by people trying something new than by people doing the same old same old. Kudos!

[mikeweil]

1. At first I thought Mike was having a little fun, starting off with this ancient sounding track, but apparently it’s part of the actual recording, since it reappears at the end. I don’t get the joke, as to my ears the piece has nothing to do with “All the Things You Are”. I have no idea who this is, but in places I was reminded of Mingus, but it’s almost certainly something much more recent. Once the cacophany starts, I’m gone!

It's based on the chord changes of All The Things You Are - I liked the idea of playing this over the old record very much!

14. Now, this I liked. Is this Cal Tjader with Gary McFarland, perhaps?

Not Tjader, and not MacFarland - the vibist also arranged this, and, to give you a clue, is European.

15. Here we have music more to my liking, an actual tune. Definitely in the Milt Jackson camp, but this ain’t Bags. Finally in the last couple of tracks, we start to hear some music I can relate to, and the disc ends!

I held off responding for a week because I couldn’t think of much to say. Still, I know you put in some effort creating this set, Mike, so an “A” for effort.

Jack, I was afraid most of this would be not so amusing for you - the 2nd disc of my previous BFT would have been perfect for you - my tastes are wide and varied. I still have a copy, if you don't have it, to convince you I'm not totally lost for good jazz ....

Thanks a lot for listening!

Edited June 18, 2006 by mikeweil

[Stereojack]

Jack, I was afraid most of this would be not so amusing for you - the 2nd disc of my previous BFT would have been perfect for you - my tastes are wide and varied. Maybe someone can make you a copy, if you don't have it, to convince you I'm not totally lost for good jazz ....

Thanks a lot for listening!

My pleasure, as always. I just took a look at the contents of your previous BFT 2nd disc, and yes, that would've presented a challenge, but one I would have relished! I am familiar with most of it, but wonder just how well I would have done in identifying the tracks. It's one thing to claim ignorance when it's music you don't like, but it's doubly frustrating to hear familiar music and still fail to identify it.

Fwiw, my musical tastes are pretty varied as well, and much of it falls outside what can be considered "jazz".

[mikeweil]

TRACK SEVEN - not all that dissimilar to the previous cut in terms of macrotools being used, but this one feels a lot better to me. Altoist sounds very familiar. I should be able to call the name. This might well be Steve Coleman, who always delivers the goods for me. Yeah, this is good shit here! Jack on drums? Gimme som more of this, please!

Thanks, Jim, for your always interesting comments! More later, but for now:

One point scored for recognizing Steve Coleman - I thought his playing was one of the few giveaways on this BFT. But it's not Jack on drums ....

Edited June 18, 2006 by mikeweil

[mikeweil]

TRACK TWO - Certainly got a Giuffre thing going on. Might be him, but I don't think so. I hear trombone bari, bass, and cello. Very nice playing by all, very free in feeling while staying in the zone of the composition. that ain't no small feat, let me tell you... No idea as to who it is, and once again, I'm appreciating it more than really feeling it, but I've been going through some pretty strong attitudinal changes the last few months, so that means nothing as far as whether or not I thinkthe music's good. Hell yeah it's good!

Sorry but there ain't no bari here, but the unison sound of bone and arco cello can fool ya .... nate Dorward nailed this one.

TRACK THREE - Well, everytime I counted, it was in 7, which is how I was feeling it, so I guess I'm finally getting more intuitive about odd meters. Nice trio, nice chamber feel. Would this be Louis Sclavis? I like the way they attacked the music, keeping it quiet dynamically, but not so in intensity. Quiet fire, that's how it feels to me. A little less quiet wouldn't have offended me, but that's cool. They said what they had to say the way they wanted to say it, and that's all that counts.

Yeah that's in 7. Not Sclavis.

TRACK FOUR - Nice, but the whole "Second Line Beat Under Modern Content" thing's become a little cliched for me anymore. I also hear some more Mingus influence, like on the first cut. Cool, but Mingus' shit always had an emotional passion that I just don't feel here. Drummer seems a little stiff, and that's a drag. Stuff like this needs to have a dance compulsion going on in order for me to feel it. This one makes me feel like I should sit down and listen to some people playing dance music for the purpose of not dancing to it. Sorry, but I'm not that advanced a human... Dug the trumpeter, though. Things loosen up a bit during the trombone solo, but not enough to convince me that these guys maybe oughta get outta the house more...

I heard them live - this disc does not nearly sound as lively and fun as they are on stage. But I loved them so much I had to include a track from their disc.

TRACK FIVE - All right, now this one has that dance propulsion going on. The tune itself doesn't really do too much for me, but oh well. Pianist is travelling once fresh but by now well trod roads, staying on the trail and going where the trail always leads. Bassist seems a little more in the moment. Good for him. Drummer really seems to be the real heart of the trio. Ultimately a little light in the content, but it's got a good beat and I can dance to it. I'll give it an 86, Dick.

The pianist is the youngest of the three - and yes, I like that drummer, too!

TRACK SIX - Oh! A dissonant voicing of a traditional line. Now that's a new idea... Fortunately, he/she let go of that pretty quicly. No harm, no foul. Now we're getting into a conspicuously "African" use of cross-rhythms. That feels good, but dammit, here comes the dissonance again. Just can't let a good feeling exist w/o throwing in a little angst, eh? Too bad... Here come the drums....and it's more using of good feelings to express something other. Ok, it's good playing, and I know where they're coming from musically and emotionally, but it's just so not what I'm hearing and feeling these days. Not their fault, and not their problem.

More about this in the answers thread.

TRACK SEVEN - not all that dissimilar to the previous cut in terms of macrotools being used, but this one feels a lot better to me. Altoist sounds very familiar. I should be able to call the name. This might well be Steve Coleman, who always delivers the goods for me. Yeah, this is good shit here! Jack on drums? Gimme som more of this, please!

Yes, Steve Coleman, but not DeJohnette.

TRACK EIGHT On my last BFT, one of the selections that didn't make the final cut was the title track from Richard Davis' Song For Wounded Knee, a trio of Davis, DeJohnette, and Joe Beck, that was very similar to this one. I really like this vibe, relaxed and "bluesy" w/o being all blatant and shit. Very "conversational", individually and collectively. Good stuff.

It's really amazing how polarized the reactions to this track are!

TRACK FOURTEEN - OOOH, NICE writing and blend! "The Meaning Of The Blues", of course, a tune that Gil immortalized w/Miles and then, a few decades later, in a ElectroTechnicolor version featuring George Adams. The recording of the bass positions this as a post-60s version, and the vibist has a very Bags-ish tone, but it doesn't feel like Bags, not at all. He's much less nuanced and much less rhytmically subtle (Bag's rhythmic sense was one of the most fluid of all time, quiet as it's kept...). The arrrangement's the strong point of this one for me. Very nice.

This tune bears a different title - I don't know whether it is based on the changes of "The Meaning Of The Blues". As I stated above, the vibist's tune and arrangement.

TRACK FIFTEEN - Interesting drummer, seems to be bringing some subtle Brazillian touches to an otherwise run-of-the-mill jazz waltz. Appreciated the fade, and the surprise ending insert even more!

It's heard like that on the record where I got it from!

[sidewinder]

Sorry about the delay. Somehow I got chance over the weekend to listen to the BFT disk 1 whilst sunning myself in the deck chair and sipping a wine. The perfect listening environment?

Enjoyed the music but was totally in the dark as to who it was for the most part. Here's my thoughts:

1. Ah, vinyl (well shellac, I guess ). The segue of old vocal into modern arrangement and back again works suprisingly well. Something in the sound reminded me of Piere Dorge's New Jungle Orchestra, also was thinking perhaps Carla Bley...

2. Trombone and bass duet. I was thinking this might be Julian Priester but I know now it isn't !

3. Prominent bass clarinet with vibes in small group. A very European sound but with hints of Dolphy influence. Michel Portal?

4. Bigger group with more marching band rhythms. Strong tuba-led underpinning to the ensemble (Bob Stewart?). Haven't a clue who the vibes is. Quite like this one.

5. Definitely a Jaco Pastorius tune ('Liberty City') played by electric piano trio. The sound and style sort of reminds me of Larry Goldings.

6. A bit of African drums leading into piano/keyboard overdubs. No idea on this one, didn't do much for me.

7. Fairly freeish alto sax (distinctive sound is definitely Steve Coleman) with drums and bass. Not sure of the group and tune. Again, strong European feel to the music.

8. Solo bluesy guitar intro. Mike Stern?

9. Various synthesised saxes (contrabass?) in a style influenced by latish Weather Report. Joe Zawinul?

10. More bass clarinet - my first instinct was to say this was something by Bennie Maupin and Dr Pat Gleeson (sure sounds like them in places) but not sure. Quite like this one (and if Kenny Wheeler is on this then I'm totally in the dark).

11. Didgeridoo introl - Rolf Harris? Leads into a Miles-ish trumpet feature. Paulo Fresu?

12. Solo guitar (Bach) then into 'Nuages' in duet with an alto player. The sound of the altoist is very much in the style of Phil Woods.

13. Cello lead playing Clifford Brown's 'Joy Spring'. No idea who though - didn't do a lot for me.

14. A very nice orchestral arrangement with a vibes lead that is very much in the style of Melba Liston. The vibist definitely isn't Bags or Bobby Hutcherson. I'd like to know who this one is.

15. That wouldn't be Fats Sadi with Kenny Clarke and Francy Boland would it? Love this track - the sound just reeks of Saba. Me wants !

Definitely a 'broadening' experience Mike, I'm looking forward to seeing the details for these tracks. Thanks again for putting this one together !