RDK Posted January 11, 2007 Author Report Share Posted January 11, 2007 1. This starts with the groove from Ahmad Jamal’s “Poinciana”, and the tune is vaguely familiar. In places the trumpet reminds me of Donald Byrd, and tune a little Shorter-esque. As a matter of fact, the tenor sounds very Wayne-like as well. And for good reason. Trumpeter might be surprising to some. 2. Mid-1960’s. Can’t place the tenor. Trumpet might be Freddie Hubbard, or possibly Woody Shaw. Considering the company, perhaps Bobby Hutcherson on vibes? Good calls. Not mid-60s, but that might be why I (and others) like this album so much: it's a bit of a throwback given the time period. 3. Gerry Mulligan, from “The Age of Steam”. Bob Brookmeyer on trombone, an instantly recognizeable voice. Nice, relaxed funky groove. Right on! 4. Familiar territory. Possibly George Coleman on tenor? Trumpet has a nice big sound, and can certainly get around the horn. Cedar Walton or Ronnie Mathews at the piano? 5. Something’s wrong here. What’s the point? I could have used a Turrentine disco groove instead, but I dug this one more. It's of the time, man, of the time. 6. Gimmicky arrangement of “A Train”. This sounds like one of those show-off-your- stereo-system records that were so popular in the early 60’s. There are certainly some fine players on this, but the whole thing is just too over the top. Yeah, but it's fun. And just short enough. What do you expect from the LP quarter bins anyway? 7. “Black and Tan Fantasy”. Really have no idea who this is, maybe Archie Shepp? 8. Somebody got a new toy for Christmas. Next!! 9. Right away, I recognized Sly’s “Sex Machine”, and figured that this was some aging bandleader attempting to connect with the kids, probably Woody Herman. The clarinet later in the track clinches it. After hearing this, and formulating my thoughts about it, my first thought was how sad it was that Woody had sunk to this level by the early 70’s. But then I started thinking about Woody’s history, starting with “The Band That Plays the Blues” in the late 30’s, and that the revered First Herd had covered R&B tunes like “Caldonia”, “I’ve Got News For You”, “Romance In the Dark”, et al. This is Woody doing what he had always done, yet to my ears this seems so lame. Good call! 10. Johnny Hartman – “Summer Wind”. The guitar sounds like Kenny Burrell, can’t place the tenor – he’s a little busy, methinks. 11. Possibly Milt Jackson? It’s funny, a lot of straight ahead jazz sounds timeless to me, yet a bit of jazz-funk like this seems dated, to my ears, anyway. 12. I like the drummer-less ensemble – refreshing. The tenor conjurs up some familiar phrases, but I can’t conjur up a name. I doubt too many outside of Europe have heard of him, but he is good and keeps good company. 13. Mingus, of course. Jimmy Knepper, Shafi Hadi. I think this comes from the session that produced “The Clown” and half of “Tonight At Noon”, but I can’t come up with a title without looking in my collection, and I won’t cheat. Nevertheless, it is nice to hear. I considerdd this something of a "gimme" - everyone should have it - but I had to include it anyway as it's one of my all-time favorites. It sounds so far ahead of it's time that it really should be better known than it is. 14. The tune is reminiscent of the old New Orleans tune “Oh Didn’t He Ramble”, done up in a breezy cool-jazz arrangement. Might this be the Dave Pell Octet? That’s be Dave on tenor, and a few familiar west coasters. Maybe Don Fagerquist on trumpet? Very good! 15. Continuing in our gospelly bag, here we have a hymn for jazz combo, with recitation. Not a clue, nor do I need to hear this again. Thought this would be divisive. Overall, some nice music on this set , and a few barkers. Quote Link to comment Share on other sites More sharing options...
RDK Posted January 11, 2007 Author Report Share Posted January 11, 2007 Hey cool... Como En Vietnam. We'll probably be doing a version of this on the next organissimo record! Great - can't wait to hear it! Quote Link to comment Share on other sites More sharing options...
JSngry Posted January 12, 2007 Report Share Posted January 12, 2007 Gotta respectfully jump to the defense of #9. That band did three albums for hat label, and this was on the second one. The first two were the product of the same arranger, and the first of the two albums was in fact mostly pretty lame. Some of that lameness carried over to this second album, but it's got several moment of fineness, of which I think this is one. Most of the lameness on those two albums I blame on the arranger, who treated too much of the material like adult easy-listening/Sunshine Pop fodder. But for this second album, he got into a bit more funk/soul material and tailored the charts accordingly, and those charts, of which #9 is one, copped a nice groove, I think. Looking at the rhythm section, you can't say that it's old guys trying to play out of their league. Anything but. And the arrangement is so basuc that all the band has to do is lay it in the pocket, which I think they do just dandily. The soloists just play the blues as they know it, so it's all good with me. The only problem I have is w/the mix. You know that the brass was roaring on those shout choruses, but they're mixed at background level. Would that this album had been recorded perfectly like this leader's first Fantasy album, Brand New, which is really a case of an old guy trying to be hip. But this one's long been a favorite, sounds like a party, and not for nothing did I include it on my first BFT. Just my opinion. Quote Link to comment Share on other sites More sharing options...
Stereojack Posted January 12, 2007 Report Share Posted January 12, 2007 Gotta respectfully jump to the defense of #9. Just my opinion. Which I respect, even tho I disagree. Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted January 13, 2007 Report Share Posted January 13, 2007 The only problem I have is w/the mix. You know that the brass was roaring on those shout choruses, but they're mixed at background level. Would that this album had been recorded perfectly I didn't think the band was mixed at background level; I thought it was too loud and much too brittle. Or is that what you're talking about, Jim? MG Quote Link to comment Share on other sites More sharing options...
JSngry Posted January 13, 2007 Report Share Posted January 13, 2007 I'm talking about the LP (which I have) relative to the way I know it would have sounded live. This downloaded file alters that sound somewhat. But really, once you've had a good taste of live big bands, recordings seldom satisfy w/o the compensating use of some imagination/memory... Quote Link to comment Share on other sites More sharing options...
The Magnificent Goldberg Posted January 13, 2007 Report Share Posted January 13, 2007 I'm talking about the LP (which I have) relative to the way I know it would have sounded live. This downloaded file alters that sound somewhat. But really, once you've had a good taste of live big bands, recordings seldom satisfy w/o the compensating use of some imagination/memory... You're probably right, at that. As far as I remember, apart from a dance band that used to play tea dances at the Metropole Hotel in the late '40s, when I was extremely young, the only big band I've ever seen live was Ray Charles' in (probably) '60 or '61. MG Quote Link to comment Share on other sites More sharing options...
RDK Posted January 13, 2007 Author Report Share Posted January 13, 2007 This downloaded file alters that sound somewhat. Possibly, though it could be the LP pressing as well. The track I used actually came off a 2-LP comp (mid-70s) rather than the original LP you have. Quote Link to comment Share on other sites More sharing options...
mikeweil Posted January 14, 2007 Report Share Posted January 14, 2007 (edited) Sorry I am so late, but a crazy working schedule and some trouble with my internet connection interfered .... Here are my unqualified utterings re: disc 2: Track 1: This is Tony Williams tune "Michelle". He's on drums, Ron Carter with that dreaded bass pickup, and then it must be Herbie, Freddie, and Wayne. I.e. some live V.S.O.P. album (that name was hype, IMO). I wish they had recorded that band the old fashioned way, like "Kind of Blue", then I'd cherish that. But I hate those bass-direct sound, and in this special case there is one note standing out incessantly, crying out for re-equalization .... I also have to admit that I prefer the 1960's collaborations of that bunch. Track 2: Some Blue Note date with Hutch and Hubbard from the 1970's - I have Knucklebean but rarely play it, as my copy crackles a bit. One of the better Hutch tracks from that band - they play with fire at a time when hard bop often sounded dated. Hey, isn't that drummer Eddie Marshall's title tune? Track 3: No idea who this is. Baritone player must be very fond of Mulligan. Like some 1970's cool ultra-hip black afro take on Mulligan-Brookmeyer. Nice but too little direction, more a jam - the looseness is nice, but they just let things happen a liitle too much, like to let the conga player take it out alone. Doesn't sound too assured .... Track 4: Should be Woody Shaw. Victor Lewis on drums. Very clean and accomplished playing, but not clinical. Solid work. Not sure about the tenor. Young Mulgrew Miller on piano? Track 5: That Beatles tune,"Something" - typical 1970's soul jazz work. Ugly drum sound with excessively muffled toms tuned as low as possible. Is that Billy Cobham? He's a little over-active at times, always lurking for a space to throw in some in. Bass must be someone like Chuck Rainey - he has those soul grooves down. I like him best on that track. Some Gene Harris date? But that guitar is beyond bad or evil, as we say here ..... Track 6: That train has been taken by a lot of people - this version sounds like the illustrative theme to some tv comedy series, until the solos begin. Don't know what to think of it. This would have been a nive disc closer without the solos. Track 7: More Ellingtonia. Nice way the tenor approaches that tune. He sounds extremely familiar, but I don't get him right now. Track 8: I always liked that fuzz-wah Fender Rhodes sound. Generic 1970's soul funk jazz item, but nicely done. Oh - Hohner clavinet - always liked that, too! The most percussive of all keyboards, and impossible to replicate with samplers. A little too much of a good thing in the end, but nice. Track 9: The Maynard Ferguson band? I remember some of his big band tunes with that approach. NMCOT, however. Oh, a clarinet - then it's Woody Herman's orchestra in all its rocking glory. Still NMCOT .... Track 10: A voice between Frank Sinatra and Johnny Hartman, but probably neither of them. The band is too busy for my taste. Track 11: More Hutch? That album with Joe Sample and Harold Land? Now here's a drummer who does it right! Track 12: Theme is made from second hand bebop phrases. Tenor's solo is much better than that. I bet my hat it's Red Mitchell on bass! Track 13: Another generic item from a different but very typical scene of its time. I liked this kind of music much better at the time than I do now. But the message comes through clearly. Track 14: Hmmm ..... do I hear Jack Sheldon here? Nice. Good original soloists, although the writing is accomplished it doesn't break any new ground. Good they keep it short. Track 15: The 1970's version of a to-do-list?!? Doubt he'll get it all done in time! Over already? Thanks for the trip into the past - I think most of the stuff here is from the time when I listened the most intensively to jazz. Still so much I never heard .... p.s. edited for typo Edited January 14, 2007 by mikeweil Quote Link to comment Share on other sites More sharing options...
RDK Posted January 17, 2007 Author Report Share Posted January 17, 2007 Again, most tracks have been at least roughly identified (damn, I forgot how good you guys are, and Sangrey really wrecks the curve!). The real stumpers seem to be #6, #8 (which I thought would be a relatively easy one), #12, and #15 (which Sangrey detectivized). Track #13 was a gimme, and anyone who didn't recognize it (at least the artist) should be ashamed. Quote Link to comment Share on other sites More sharing options...
JSngry Posted January 17, 2007 Report Share Posted January 17, 2007 Is that Barney Wilen on #12? Quote Link to comment Share on other sites More sharing options...
mikeweil Posted January 17, 2007 Report Share Posted January 17, 2007 Track #13 was a gimme, and anyone who didn't recognize it (at least the artist) should be ashamed. I am - but have to admit I listened to this album only in the context of the Mingus Atlantic box set, and was distracted by all kinds of things when reviewing the BFT CD. Sounds extremely modern for its time! Will have to put this on the liostening list, for certain! Quote Link to comment Share on other sites More sharing options...
Big Al Posted January 26, 2007 Report Share Posted January 26, 2007 Yep. Inside joke, ask Big Al. That was my original answer during those guesses. I'm surprised you remembered that. I'm honored! Quote Link to comment Share on other sites More sharing options...
JSngry Posted July 12, 2009 Report Share Posted July 12, 2009 (edited) TRACK SIX - Oh my! AGAIN! What is this, Esquivel arranging for Enoch Light masquerading as a 70s Ted Heath album on Project Command 4 London? Thing is...it's a really interesting -and difficult - arrangement (even the gimmicks are interesting), and it's really well played. That band ain't fukkin' around, and when it comes time to play "regular", they're there. I could almost go Mancini on this, but Mancini never played it this wack. Whover it is, it's fun, it's goofy, it's goofy fun, and it ain't no bullshit. Big props. I found the personnel for this album: http://www.jazzdisco.org/mercury-records/c...eries/#pps-2028 PPS 2028 Billy Byers - Impressions Of Duke Ellington Joe Newman, Ernie Royal, Doc Severinsen, Clark Terry (tp) Wayne Andre, Jimmy Cleveland, Melba Liston, Tony Studd (tb) Ray Alonge, Jim Buffington, Don Corrado, Bob Northern (frh) Harvey Phillips (tu) Jerry Dodgion (fl, cl, as) Eric Dixon (fl, ts) Sol Schlinger (bars, bcl) Patti Bown (p) Milt Hinton (b) Osie Johnson (d) Eddie Costa, Ed Shaughnessy (per) Billy Byers (arr, cond) Quincy Jones (prod) NYC, December 29, 1961 F23261 Mood Indigo F23262 Just Squeeze Me F23263 All Too Soon F23264 Solitude Jack Rains (tb) Julius Watkins (frh) Spencer Sinatra (ts) replaces Andre, Corrado, Dixon NYC, January 5, 1962 23267 Caravan 23268 Don't Get Around Much Anymore 23269 Chelsea Bridge 23270 I'm Beginning To See The Light Al DeRisi (tp) Eric Dixon (ts) replaces Severinsen, Sinatra NYC, January 12, 1962 F23333 Sophisticated Lady F23334 Take The "A" Train ...it's really well played... Well, DUH. Edited July 12, 2009 by JSngry Quote Link to comment Share on other sites More sharing options...
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