BFT 54 disc two discussion

[Big Al]

Same as it ever was, only more of the same!

[Big Al]

[Spontooneous]

OK, I'll bite.

1. Tonight on All-Star Wrestling, the long-awaited Getz vs. Ogerman cage match? Nobody wins. Is the tenor doubled closely with a guitar, or is that a Varitone?

2. Ohh, I know this one … The tenor solo has the geometry and tone of Joe Henderson, so I went looking through all the Joe in my collection. No luck. Very frustrating. So I called upon a trusted friend who’s the biggest Joe Henderson fan in town. He pointed me away from Joe, but pinpointed it here.

The arrangement is a wonder, sounding much bigger than just six horns.

And now, after a good night’s sleep, I realize that the composer and arranger of this tune is also the leader on Disc One, Track 8.

3. Chet takes on the big issues! It's from this disc. I’d forgotten about this tune, a piece of KD's heart.

4. One of my very favorite Tin Pan Alleyish tunes, “Mean to Me.” Sweets? Puckish humor, lots of space. Joe Pass? When it seems they’re heading for an out chorus, they aren’t; what follows is even better.

5. No smoke, but lots of heat, and it feels good. No idea who it is, but I’m into it. Maybe Tom Harrell?

6. I can’t figure out which instruments are synthesized and which are real here. Reminiscences of Sibelius’ “Valse Triste” and Debussy’s “Danses Sacree et Profane.” When the discussion turns to film music, I tend to head for the men’s room, hope the subject changes before I get back, and think of an excuse to leave if it doesn’t.

7. The Desmond vs. Sebesky cage match? It’s far more likable than 1.

[Big Al]

OK, I'll bite.

1. Tonight on All-Star Wrestling, the long-awaited Getz vs. Ogerman cage match? Nobody wins. Is the tenor doubled closely with a guitar, or is that a Varitone?

Heh heh! It's neither the tenor nor the arranger (hey, whattya makin' fun of my favorite arranger? Why you brassafrackarackshlacka@^#@^%#%^#!!^!!!!! ). I can't answer the second question for fear of giving it away. Someone oughta figure out soon enough, though!

2. Ohh, I know this one. The tenor solo has the geometry and tone of Joe Henderson, so I went looking through all the Joe in my collection. No luck. Very frustrating. So I called upon a trusted friend who's the biggest Joe Henderson fan in town. He pointed me away from Joe, but pinpointed it here.

Be more specfic!

The arrangement is a wonder, sounding much bigger than just six horns.

You know it! The first time I heard this song, I was working on a Saturday and got so hooked on it, I hit the 'repeat' button and listened nonstop for at least an hour!

And now, after a good night's sleep, I realize that the composer and arranger of this tune is also the leader on Disc One, Track 8.

He is? (goes over to jazzdisco.org to check it out) Well, whattya know, so he is! I overlooked that little tidbit! You'd think I would've noticed that in putting this together.

3. Chet takes on the big issues! It's from this disc. I'd forgotten about this tune, a piece of KD's heart.

Any idea when KD wrote this? I've never found where he recorded this tune. But yeah, Chet makes this his own.

4. One of my very favorite Tin Pan Alleyish tunes, "Mean to Me." Sweets? Puckish humor, lots of space. Joe Pass? When it seems they're heading for an out chorus, they aren't; what follows is even better.

Right song, wrong performers. This may have been pretty evil of me!

5. No smoke, but lots of heat, and it feels good. No idea who it is, but I'm into it. Maybe Tom Harrell?

It ain't Harrell, but if you think Harrell sounds like the trumpeter here, please give me some recs on some good Harrell albums!

6. I can't figure out which instruments are synthesized and which are real here. Reminiscences of Sibelius' "Valse Triste" and Debussy's "Danses Sacree et Profane." When the discussion turns to film music, I tend to head for the men's room, hope the subject changes before I get back, and think of an excuse to leave if it doesn't.

It's not film music, but I could see where it could be mistaken for it.

7. The Desmond vs. Sebesky cage match? It's far more likable than 1.

DING! DING! DING!!! Correctamundo again!

So far so good! Can't wait to read the rest of your guesses!

Edited January 29, 2008 by Big Al

[Spontooneous]

8. Johnny Smith and Getz? Or some guys who wanted to be like them. The lumpy drumming style is amusing. You hear it a lot on records from about ’46 to ’56, and then it goes away. But it comes back now and then in the hands of students and amateurs.

9. No time to run it down right now, but I’d bet money or property it’s the band generously represented here.

A lot of music being made today sounds like this. These guys get points for having been there and done that 20 years earlier.

10. Well, that’s different. It’s the title tune here.

but it sure isn’t the familiar take. The bassist tries to perk it up, but tries too hard. Is it or ain’t it the original artist?

11. The opener here.

Even better than I remembered. The pianist and drummer make quite a combustible mixture. Wish it had happened more often.

12. Fats, Honeybear and Herman Autrey, I’d reckon. Can’t ID the song itself. The accompaniment to the trumpet solo is far more interesting than the solo.

13. Feels good in juxtaposition to 12. Then again, 12 feels good in juxtaposition with this. I’ll guess Fred Wesley. Organ is cool, even in its roughness – is it James Brown taking a turn on keys?

14. Pianist has wonderful touch, gets a big variety of dynamics and attacks from the electric. Maybe someone we don’t usually associate with an electric instrument? The percussionists are nice and responsive, intensifying the groove here, pulling back there. The composition is on the bland side, though. .

15. Bittersweet ending. With a haunting chill. Like a waltz with someone you’re avoiding eye contact with. I want this record.

Edited January 29, 2008 by Spontooneous

[Big Al]

8. Johnny Smith and Getz? Or some guys who wanted to be like them. The lumpy drumming style is amusing. You hear it a lot on records from about ’46 to ’56, and then it goes away. But it comes back now and then in the hands of students and amateurs.

Smith yes, Getz no. Gotcha again!

9. No time to run it down right now, but I’d bet money or property it’s the band generously represented here.

A lot of music being made today sounds like this. These guys get points for having been there and done that 20 years earlier.

Yes, it's definitely from that!

10. Well, that’s different. It’s the title tune here.

but it sure isn’t the familiar take. The bassist tries to perk it up, but tries too hard. Is it or ain’t it the original artist?

Yes, it definitely is not the familiar take.

11. The opener here.

Even better than I remembered. The pianist and drummer make quite a combustible mixture. Wish it had happened more often.

Oh, you KNOW it! The way the pianist and drummer spar off during the piano solo is fiery, then the alto & trumpet come in to finish it off with unbelievable fireworks. I agree, I wish these two had recorded together more often.

12. Fats, Honeybear and Herman Autrey, I’d reckon. Can’t ID the song itself. The accompaniment to the trumpet solo is far more interesting than the solo.

Crud! Thought I could slip the Fat man by y'all!

13. Feels good in juxtaposition to 12. Then again, 12 feels good in juxtaposition with this. I’ll guess Fred Wesley. Organ is cool, even in its roughness – is it James Brown taking a turn on keys?

DAMN!!! Right on both counts!

15. Bittersweet ending. With a haunting chill. Like a waltz with someone you’re avoiding eye contact with. I want this record.

Wow! That was beautiful. Really! I couldn't have said it any better. The rest of this album isn't as melancholy, and in fact took me awhile to get used to. But I've always loved this track. Listening to it makes me feel very wistful, and listening to the fade-out feels like leaving a wonderful dream about a past happiness and fading back into reality. I'll go into even more detail about this song come answer-time, but for now, I'll PM the answer to ya.

[Niko]

Any idea when KD wrote this? I've never found where he recorded this tune. But yeah, Chet makes this his own.

trying to find out i stumbled across this odd article (peculiarly self-centered but then it is 11 pages on KD)

http://ecommons.txstate.edu/cgi/viewconten...mp;context=jtmh

Dave Oliphant. Kenny Dorham & Leo Wright: Texas Bebop Messengers to the World, Journal of Texas Music History 2001

footnote 21:

A different type of personal connection with Norway is found in Dorham’s

association with Randi Hultin, a jazz buff in Oslo whose account of her

relationship with and hospitality toward jazz musicians is recorded in her

book, Born Under the Sign of Jazz: Public Faces | Private Moments, trans.

Tim Challman (London: Sanctuary Publishing Limited, 1998). Hultin’s

book includes a CD with Dorham playing piano and singing in her home

in 1964. Hultin taped Dorham performing his song entitled “Fair Weather,”

which was used in the 1986 movie, ‘Round Midnight, starring tenor saxo-

phonist Dexter Gordon. Hultin’s 1964 taping was the only time that

Dorham performed his song, for which he composed the music and wrote

the lyrics. Hultin also mentions Leo Wright as having visited her home and

as having been amazed by her young daughter who did improvised danc-

ing to jazz. See pp. 227-228 for Dorham and p. 132 for Wright.

someone with a credit card should get the book for 55 cent:

http://www.amazon.com/Born-Under-Sign-Jazz...1449&sr=8-1

(don't think all editions have the cd but this one apparently has)

[Niko]

does anyone have more info on what's on the cd than this bit here:

Randi Hultin: Born Under the Sign of Jazz (London, Sanctuary Publishing Ltd, 1998, 399 p. + CD, ill., hb, autobiographical account by Norway's first lady in jazz; CD features unreleased material by Sonny Clark, Zoot Sims, Jaki Byard, Hampton Hawes, Stuff Smith, Phil Woods, Kenny Dorham, recorded at Hultin’s home

[Niko]

here is more info:

1 Intro from Randi

2 Jeepers Creepers - Sonny Clark (1954)

3 Comment from Randi

4 Jam - Basie Musicians - Ernie Wilkins, Joe Newman, Eddie Jones, Freddy Green, Plus Anthony Ortega, Tor Hultin (1954)

5 Comment from Randi

6 Interview - Ernie Wilkins (1974)

7 Comment from Randi

8 Solo from Bjarne Nerem - Basie Jam (1956)

9 Comment from Randi

10 Stuff Smith (1956)

11 Comment from Randi

12 Zoot Sims, Einar Iverson, Roy Burns, Knut Ljung, Mikkel Flagstad

13 Comment from Randi

14 Hampton Hawes (1967)

15 Comment from Randi

16 Interview - Bill Evans

17 Comment from Randi

18 Phil Woods (1968)

19 Comment from Randi

20 Randi's Rag for Eubie - Morten Gunnar Larsen

21 Comment from Randi

22 Fairweather - Kenny Dorham

23 Comment from Randi

24 Kors I Taket - Jan Johansson (comp: Osten Hedenbratt)

25 Comment from Randi

26 Tenderly - Reinhold Svensson

27 Comment from Randi

28 Jan Johansson

[sidewinder]

does anyone have more info on what's on the cd than this bit here:

Randi Hultin: Born Under the Sign of Jazz (London, Sanctuary Publishing Ltd, 1998, 399 p. + CD, ill., hb, autobiographical account by Norway's first lady in jazz; CD features unreleased material by Sonny Clark, Zoot Sims, Jaki Byard, Hampton Hawes, Stuff Smith, Phil Woods, Kenny Dorham, recorded at Hultin’s home

I've got this one. Came with the book (just about every paperback copy I've seen has had this enclosed at the back). Some very interesting things on their, not least Kenny Dorham singing on one track.

Edited January 30, 2008 by sidewinder

[Niko]

does anyone have more info on what's on the cd than this bit here:

Randi Hultin: Born Under the Sign of Jazz (London, Sanctuary Publishing Ltd, 1998, 399 p. + CD, ill., hb, autobiographical account by Norway's first lady in jazz; CD features unreleased material by Sonny Clark, Zoot Sims, Jaki Byard, Hampton Hawes, Stuff Smith, Phil Woods, Kenny Dorham, recorded at Hultin’s home

I've got this one. Came with the book (just about every paperback copy I've seen has had this enclosed at the back). Some very interesting things on their, not least Kenny Dorham singing on one track.

thank you! (and just for the record: Jaki Byard doesn't seem to be featured on the cd; and it his encouraging to see even a native speaker confuse "there" and "their" when writing)

Edited January 30, 2008 by Niko

[sidewinder]

and it his encouraging to see even a native speaker confuse "there" and "their" when writing)

Just very sloppy writing today. Sorry !

[Big Al]

Any idea when KD wrote this? I've never found where he recorded this tune. But yeah, Chet makes this his own.

trying to find out i stumbled across this odd article (peculiarly self-centered but then it is 11 pages on KD)

http://ecommons.txstate.edu/cgi/viewconten...mp;context=jtmh

Dave Oliphant. Kenny Dorham & Leo Wright: Texas Bebop Messengers to the World, Journal of Texas Music History 2001

footnote 21:

A different type of personal connection with Norway is found in Dorham’s

association with Randi Hultin, a jazz buff in Oslo whose account of her

relationship with and hospitality toward jazz musicians is recorded in her

book, Born Under the Sign of Jazz: Public Faces | Private Moments, trans.

Tim Challman (London: Sanctuary Publishing Limited, 1998). Hultin’s

book includes a CD with Dorham playing piano and singing in her home

in 1964. Hultin taped Dorham performing his song entitled “Fair Weather,”

which was used in the 1986 movie, ‘Round Midnight, starring tenor saxo-

phonist Dexter Gordon. Hultin’s 1964 taping was the only time that

Dorham performed his song, for which he composed the music and wrote

the lyrics. Hultin also mentions Leo Wright as having visited her home and

as having been amazed by her young daughter who did improvised danc-

ing to jazz. See pp. 227-228 for Dorham and p. 132 for Wright.

someone with a credit card should get the book for 55 cent:

http://www.amazon.com/Born-Under-Sign-Jazz...1449&sr=8-1

(don't think all editions have the cd but this one apparently has)

YES!!! I've been looking for the answer to this question for years! Pity this song never got the recognition it deserved. I wonder why he didn't record it for his own vocal album. Did KD compose other songs with lyrics?

[JSngry]

Just downloaded Disc Two Part One (man this thing is taking on the epic dimensions of an old James Brown 45...), so let's hit it:

TRACK ONE - Eddie Harris fersure, what is it, "Theme In Search Of A Movie" or something like that? Pretty sure I've got it as the flip side of on of his Atlantic 45s, maybe "Listen Here", I dunno. But Eddie Harris, yeah, I do enjoy me some Eddie Harris, all of it (and there really is a lof of "all" in "all of it" when you explore his overall output), and you know, it's really easy to dismiss something like this as "commercial" and then let it go. Well, ok, it is "commercial", but there's a lot of specificity in the choices made as to how/why it will be so, and from there, if one chooses, one can get a lot of what the kids today like to call "subtext", and from there, the mind can roam far and wide if it so chooses.

Or you can just listen to for kicks and move on. Works either way.

TRACK TWO - Doggone it, I know this one...but damned if I can remember it...Blue, Junior, Pearson charts....ok, I got it now. http://www.allmusic.com/cg/amg.dll?p=amg&a...10:jxfpxqegld6e

Yeah, great tune. I love thos vampy, modal-into-changes structures, and this is a fine one indeed. Great stuff!

TRACK THREE - Chet. I probably should know this one, but don't. Not his usual fare, is it...lots of words, not exactly "pop fare", it's nice, very nice. Probably be nicer at night, but we gotta listen when we can. I'm not a big Chet fan, and his playing here is really weak, but it's a good song with interesting words, and he does right by them. Good enough.

TRACK FOUR - "Mean To Me", sounds like more from GranzLand, if Miles lived there. Sweets? Nah, there's something slightly awkward about this one, not in a bad way, mind you... Heard a few things after a few times through that remind me of something/somebody off a mid-70s red Garland Galazy side. so...

My guess: http://www.allmusic.com/cg/amg.dll?p=amg&a...10:dxfwxqehldje

Not bad, but nothing really grabbing eiter, not for me. Eveybody involved's no doubt done better.

TRACK FIVE - Lovely atmospherics in the arrangement, kinda reminds me of Duke Pearson's later writing, but this is not that. People might laugh when I say that Earl Klugh could make a record like this, but they shouldn't (and he should), but again, this is not that, I don't think. He's more fluent than this player. The guitar soloing, I hear the math/theory, and I prefer not to do that. Flugel solo...lyrical, melodic, no math/theory, at least not so as it's the first thing you notice. I do like that! This ain't some latter-day Art Farmer is it? Nah...Now we got a piano solo, and, eh...fine playing, but, was this recorded at Rudy's? Piano kinda sounds like it, but not all the way...

Beautiful tune, that's what catches & grabs me here, it's just a freakin' gorgeous song. Sometimes that's enough.

TRACK SIX - Film music? A Ron Carter song fleshed out for orchestra? You ever hear Nelson Riddle Conducts the 101 Strings Orchestra? This type of "melancholia" would not be out of place on that, save for it's a little more..."obvious" that the original material that Riddle brought in for that one. The theme here, such as it is, is pretty slight, but orchestrated quite nicely and performed even better, and that puts it across just right.

TRACK SEVEN - The intro sounds like Desmond Meets Brian Wilson! Must be one of those A&M sides of his. Never heard those, always wanted to, but just haven't gotten around to it. Nice! http://www.allmusic.com/cg/amg.dll?p=amg&a...10:jzfyxqygldse

Again, as with the Eddie Harris, it's waaay too easy to dismiss this as simply "commercial". There's a lot of things going on here, choices being made that directly affect the outcome, lots of ways for things to be substantially different than they end up being. There was a "muzak" station in Tyler, Tx when I was growing up that would occasionally slip something like this into the rotation. I went through a phase in high school of abandoning pop altogether (it was a really bad time for Top 40 immediately post-Beatles) and got into jazz. This muzak staation played a lot of standards, so it was a good staion for in the bathoroom, you know, shower, shit, shave, pick up on a new tune. What every 15 year old should be doing, right? But in a context like that, something like this stuck out like a sore thumb becuase it was not simply "commercial" "easy listening" etc. There was something more about something like this, and if it's not "jazz" hardcore, it sure as hell isn't lacking in "jazz" either! It's in there, and it ultimately makes a, no, the difference. No jazz, no this. Period.

Now, what you wanna hear is the Bill Watrous "muzak" album. That one's a real trip!

Hey, I gotta yield the computer to Toot-Toot, so that's it for now. Part Two's gonna hafta wait, unfortunately. This getting good!

[Big Al]

Just downloaded Disc Two Part One (man this thing is taking on the epic dimensions of an old James Brown 45...), so let's hit it:

TRACK ONE - Eddie Harris fersure, what is it, "Theme In Search Of A Movie" or something like that? Pretty sure I've got it as the flip side of on of his Atlantic 45s, maybe "Listen Here", I dunno. But Eddie Harris, yeah, I do enjoy me some Eddie Harris, all of it (and there really is a lof of "all" in "all of it" when you explore his overall output), and you know, it's really easy to dismiss something like this as "commercial" and then let it go. Well, ok, it is "commercial", but there's a lot of specificity in the choices made as to how/why it will be so, and from there, if one chooses, one can get a lot of what the kids today like to call "subtext", and from there, the mind can roam far and wide if it so chooses.

Or you can just listen to for kicks and move on. Works either way.

Nice to know I'm not the only one who feels this tune more than what's on the surface. I got this album (CD) as a birthday present some years back, and instantly fell in love with this song. IMO, there are few albums in any genre that start off as nice as this! Ever imagined what that opening scene might look like if someone had scored it with this? I have, many times!

TRACK TWO - Doggone it, I know this one...but damned if I can remember it...Blue, Junior, Pearson charts....ok, I got it now. http://www.allmusic.com/cg/amg.dll?p=amg&a...10:jxfpxqegld6e

Yeah, great tune. I love thos vampy, modal-into-changes structures, and this is a fine one indeed. Great stuff!

Me three!!!

TRACK THREE - Chet. I probably should know this one, but don't. Not his usual fare, is it...lots of words, not exactly "pop fare", it's nice, very nice. Probably be nicer at night, but we gotta listen when we can. I'm not a big Chet fan, and his playing here is really weak, but it's a good song with interesting words, and he does right by them. Good enough.

I fully agree that this ain't Chet at his strongest, but that frailty serves this song well, IMO.

Isn't anyone gonna comment about the lovely piano playing, especially the solo?

TRACK FOUR - "Mean To Me", sounds like more from GranzLand, if Miles lived there. Sweets? Nah, there's something slightly awkward about this one, not in a bad way, mind you... Heard a few things after a few times through that remind me of something/somebody off a mid-70s red Garland Galazy side. so...

My guess: http://www.allmusic.com/cg/amg.dll?p=amg&a...10:dxfwxqehldje

Drat! Not that I really thought I could fool you, but..... drat!!!

Gotta split it up again, too many quote blocks, not enough posts!

[Big Al]

TRACK FIVE - Lovely atmospherics in the arrangement, kinda reminds me of Duke Pearson's later writing, but this is not that. People might laugh when I say that Earl Klugh could make a record like this, but they shouldn't (and he should), but again, this is not that, I don't think. He's more fluent than this player. The guitar soloing, I hear the math/theory, and I prefer not to do that. Flugel solo...lyrical, melodic, no math/theory, at least not so as it's the first thing you notice. I do like that! This ain't some latter-day Art Farmer is it? Nah...Now we got a piano solo, and, eh...fine playing, but, was this recorded at Rudy's? Piano kinda sounds like it, but not all the way...

Beautiful tune, that's what catches & grabs me here, it's just a freakin' gorgeous song. Sometimes that's enough.

Why, yes it was recorded at RVG; I just checked this CD for that info for the very first time! Guess I don't know that VG sound as well as I thought I did.

I fully agree with you about Earl Klugh making a record like this, as well as the way the beauty of this song grabs you right from the start. It had the same effect on me first time I heard it. The rest of this album is as much a treat as this track, but this one REALLY stands out!

TRACK SIX - Film music? A Ron Carter song fleshed out for orchestra? You ever hear Nelson Riddle Conducts the 101 Strings Orchestra? This type of "melancholia" would not be out of place on that, save for it's a little more..."obvious" that the original material that Riddle brought in for that one. The theme here, such as it is, is pretty slight, but orchestrated quite nicely and performed even better, and that puts it across just right.

The irony here is that on your BFT #4, on the Horace Silver track, I correctly guessed Ron Carter as the bassist. Now it's come full circle: you correctly guessing Ron Carter as the bassist on my BFT! I don't know about you, but during the climax of the piece, Carter plays that little octave drop that is instantly recognizable as something he'd play. And no one else can play it like him, AFAIC!

TRACK SEVEN - The intro sounds like Desmond Meets Brian Wilson! Must be one of those A&M sides of his. Never heard those, always wanted to, but just haven't gotten around to it. Nice! http://www.allmusic.com/cg/amg.dll?p=amg&a...10:jzfyxqygldse

Yup, that's the one!

Again, as with the Eddie Harris, it's waaay too easy to dismiss this as simply "commercial". There's a lot of things going on here, choices being made that directly affect the outcome, lots of ways for things to be substantially different than they end up being. There was a "muzak" station in Tyler, Tx when I was growing up that would occasionally slip something like this into the rotation. I went through a phase in high school of abandoning pop altogether (it was a really bad time for Top 40 immediately post-Beatles) and got into jazz. This muzak staation played a lot of standards, so it was a good staion for in the bathoroom, you know, shower, shit, shave, pick up on a new tune. What every 15 year old should be doing, right? But in a context like that, something like this stuck out like a sore thumb becuase it was not simply "commercial" "easy listening" etc. There was something more about something like this, and if it's not "jazz" hardcore, it sure as hell isn't lacking in "jazz" either! It's in there, and it ultimately makes a, no, the difference. No jazz, no this. Period.

Abso-freakin-lutely! The rest of this album is the same way. This album had all the potential to be something schmaltzy, and it's not like the leader's other A&M dates were all the substantial (pardon me for not liking anyone covering Simon & Garfunkel. Too much nothing there to be any of something). Something about this album sets it apart from the others, and just because I can't identify it or describe it doesn't mean it don't exist. Kinda like my argument for God.

Now, what you wanna hear is the Bill Watrous "muzak" album. That one's a real trip!

Arlington Public Library's having their spring sale in a couple months! Y'never know!

Hey, I gotta yield the computer to Toot-Toot, so that's it for now. Part Two's gonna hafta wait, unfortunately. This getting good!

I'm honored by the compliment!

[Chas]

Since it hasn't been ID'ed yet , thought I'd pop in to say that track 14 is from Kenny Barron's first date as a leader done for Muse . Can't recall offhand the name of the tune or the vibes player . The album itself is quite varied , with sensitive acoustic tracks rubbing up against more funky , spacey , electric tracks . I think anyone digging the latin percussion-vibes-electric piano sound of this track will want to check out Bobby Hutcherson's Montara if they haven't already done so .

[Big Al]

Since it hasn't been ID'ed yet , thought I'd pop in to say that track 14 is from Kenny Barron's first date as a leader done for Muse . Can't recall offhand the name of the tune or the vibes player . The album itself is quite varied , with sensitive acoustic tracks rubbing up against more funky , spacey , electric tracks . I think anyone digging the latin percussion-vibes-electric piano sound of this track will want to check out Bobby Hutcherson's Montara if they haven't already done so .

Is that his first Muse date? I didn't know that! If so, you nailed it, description and everything!

Oddly enough, I just received Montara from BMG this week. If it's anything like the Barron date, as you say, then I can't wait to dig into it!

Are you gonna comment on the rest of the tracks? I hope so!

[Chas]

Oddly enough, I just received Montara from BMG this week. If it's anything like the Barron date, as you say, then I can't wait to dig into it!

Judging by your choice of Eddie Harris and Paul Desmond tracks you're o.k. with a smoother , more commercial sound , and so I think you'll really enjoy Montara . It has similarly 'slick' production values , but plenty of atmospheric , hypnotic , low-key grooves .

Back to the BFT...

Track 15 intrigued me enough that I listened closely a few more times , and I've decided that this is Vince Guaraldi doing something based on Debussy's Clair De Lune . I know it's not from his Christmas album ( would have fit perfectly though ) ; perhaps another of his Peanuts records ? In any case , very lovely indeed .

[Big Al]

Oddly enough, I just received Montara from BMG this week. If it's anything like the Barron date, as you say, then I can't wait to dig into it!

Judging by your choice of Eddie Harris and Paul Desmond tracks you're o.k. with a smoother , more commercial sound , and so I think you'll really enjoy Montara . It has similarly 'slick' production values , but plenty of atmospheric , hypnotic , low-key grooves .

Cool. Now I really can't wait to dig into it!

Back to the BFT...

Track 15 intrigued me enough that I listened closely a few more times , and I've decided that this is Vince Guaraldi doing something based on Debussy's Clair De Lune . I know it's not from his Christmas album ( would have fit perfectly though ) ; perhaps another of his Peanuts records ? In any case , very lovely indeed .

True, it's not from his Christmas album. I guess you could call this one of his Peanuts records, but I don't know if this tune was ever used in one of the specials. Good call!

[marcello]

Since it hasn't been ID'ed yet , thought I'd pop in to say that track 14 is from Kenny Barron's first date as a leader done for Muse . Can't recall offhand the name of the tune or the vibes player . The album itself is quite varied , with sensitive acoustic tracks rubbing up against more funky , spacey , electric tracks .

Is that his first Muse date? I didn't know that! If so, you nailed it, description and everything!

Oddly enough, I just received Montara from BMG this week. If it's anything like the Barron date, as you say, then I can't wait to dig into it!

I have that side. It's called "Sunset to Dawn" and Warren Smith plays vibes.

[Big Al]

Since it hasn't been ID'ed yet , thought I'd pop in to say that track 14 is from Kenny Barron's first date as a leader done for Muse . Can't recall offhand the name of the tune or the vibes player . The album itself is quite varied , with sensitive acoustic tracks rubbing up against more funky , spacey , electric tracks .

Is that his first Muse date? I didn't know that! If so, you nailed it, description and everything!

Oddly enough, I just received Montara from BMG this week. If it's anything like the Barron date, as you say, then I can't wait to dig into it!

I have that side. It's called "Sunset to Dawn" and Warren Smith plays vibes.

That's the LP, indeed!

[Dan Gould]

Well, I hate to say it but Disc 2 wasn't nearly as pleasurable as disc 1.

Track 1:

Sounds like a cheesy MOR instrumental, circa 1967. NMCOT is too harsh, we need something to signify disinterest, not outright rejection.

Track 2:

Nice - and very familiar. Makes me think of those larger-band Stanley T. BNs that Duke Pearson arranged, but its not Stanley on tenor.

Track 3:

Chet Baker, who I've never been able to tolerate for more than about thirty seconds. NEXT!

Track 4:

Sure sounds like Sweets to me, on "Mean to Me".

Track 5:

Perfectly pleasant but just not the sort of thing I seek out.

Track 6:

Ditto.

Track 7:

And we've got three in a row.

Track 8:

Same as it ever was.

Track 9:

I think you see the pattern here ...

Track 10:

Sounds vaguely familiar ... I presume Jim R. will enjoy sniffing out the guitarists but I'm neither equipped to do that nor all that interested.

Track 11:

First I recognized Sweets ... and then Duke and Hodges. Backwards, Sideways, Forwards - its classic stuff. But will you look at me weird if I say that I like Sweets best on them?

Track 12:

Short and sweet. What's not to like?

Track 13:

At first I didn't want to like this but I couldn't help myself. No guesses though.

Track 14:

No guesses, and not really MCOT

Track 15:

Ah, back to the pretty but not terribly engaging. Ah well.

Al, Disc 2 had more misses than the first one but was still enjoyable in its own way. Thanks for putting these together.

[Big Al]

My pleasure! For some reason, I've been digging disc two more than disc one lately, but maybe that's just the mood I've been in. I find disc two to be much more relaxing than disc one. Guess you could say that this is my own little Moon Beams and How My Heart Sings.

My biggest concern in all of this is that nobody would find anything substantive, much less enjoyable. Happily, I see that, for the most part, I was wrong on both counts!

Edited February 1, 2008 by Big Al

[Big Al]

A few comments!

Track 3:

Chet Baker, who I've never been able to tolerate for more than about thirty seconds. NEXT!

Track 9:

I think you see the pattern here ...

But, but, but..... not even on account of the drummer?

Track 11:

First I recognized Sweets ... and then Duke and Hodges. Backwards, Sideways, Forwards - its classic stuff. But will you look at me weird if I say that I like Sweets best on them?

Not at all! Hard to pick a favorite player on this track. My favorite's the drummer!