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BFT 65


Guest Bill Barton

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Guest Bill Barton

For more atypical Bennink, try sampling his work on Blue Note for an Andy Sheppard album.............

Andy Sheppard on Blue Note? Was that a U.K.-only Blue Note International release, Nate? I don't see Bennink credited on Rhythm Method or Delivery Suite, though I've never heard those recordings either. I have Soft on the Inside and Introductions in the Dark and have always had a soft spot (sorry <_<) for the former.

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My apologies to Bill for my tardiness in responding. I listened to it a couple of times immediately after downloading it, but then got very busy with work and traveling. I have not read anything else before posting my own responses here.

1. Interesting guitar-drums and maybe bass performance. I like this sort of edgy, clean toned guitar playing. Toward the end there were some glimpses of Metheny’s tone, but not enough for me to confidently commit. Interesting track.

2. Trombone-piano duet. It could be a French horn. It is an effectively moody piece, but after several listens it did not make any significant impressions on me.

3. A saxophone/clarinet ensemble. The tune has a tango feel to it. The only comparable ensembles I am familiar with are the World Saxophone Quartet and possibly the Julius Hemphill Sextet. I am fairly certain this is not either of those groups. In any event, the performance peaked my interest enough to consider possibly hearing more by the group.

4. Piano-bass-drums trio. The bass could be a cello. My favorite track so far. It could be one of the Dutch groups or possibly someone like Simon Nabatov. Love the tension in the pianist’s playing as he/she gradually deconstructs the familiar tune. The string solo tells me that it is a bass and not cello. Very intriguing performance.

5. Trumpet-guitar-drums. The trumpeter sounds like Dave Douglas. It could be his Tiny Bell Trio. I am pretty sure it is Douglas and the drummer does sound like Jim Black to me, so I will go out on a limb and guess it is the Tiny Bell Trio. I have mixed feelings about Douglas. I have heard some stuff by him that I have loved such as his sextet recordings and a live concert I saw with Roswell Rudd. Other stuff just bores me. Can’t say he does not take chances though. I have not heard much of the Tiny Bell Trio, but assuming this is them, this performance would lean toward the stuff from Douglas that I like. Of course, if it is not Douglas then everything I just wrote was a waste of time.

6. Sounds like Rabih Abou-Khalil or another group with middle eastern or possibly Indian influences. It certainly is exotic and the clarinet solo reinforces the overall texture. As the song goes on I am now convince it is not Abou-Khalil – the guitar solo is outside I have ever heard from him and honestly takes away from the performance for me. Without the guitarist this would be very interesting.

7. This is the second track from this recording PR. Very distinctive clarinetist – I was listening to his recordings intensely for a while. Also, his biography, The Traveler, is a fairly interesting read. Thumbs up for this one.

8. tenor-piano-bass-drums. I want and feel like I should be intrigued, but sorry to say this particular track did not move me much. I would like to hear another track by this group, because I do like the tenor’s sound and would be willing to give them another chance on something with a little more overt structure.

9. Tuba-sax-trumpet-drums. Great stuff. It is an Ornette tune and the trumpeter even has some Cherry-like splashes. The saxophonist is very familiar, but I can not positively identify any one at this moment.

10. This is the most up beat, swinging, straight ahead track we have heard so far. No fault of the music, but I got distracted for a moment. For the most part I enjoyed what I heard, but it does not give the same kind of stimulation many of the other tracks did.

11. Wow, another happy piano trio. Solid playing, but not as interesting to me as the preceding track.

12. The disc ends with some more tension filled piano playing ala Cecil Taylor with the incomparable Steve Lacy on soprano. Every time I heard Cecil from this period I am more convinced that this is some of the most amazing piano playing I have heard.

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I feer that I dun been a little laggardly with a-gettin' to this, but we have had some injury in the Sangrey household & my joints still be a-achin' like all git-out. Still, enuff's zenuff, so, the usual thanks and disclaimers in place in perpetuity, away we go!

TRACK ONE - Clever & crafty. Fine playing indeed, but I wonder about having all those chops and wanting to put them up against a four-on-the-floor bass drum & and a sprung shuffle beat. That bugs me for some reason, but it's my problem, not theirs. Otherwise, you can sure tell that they've practiced a lot and played a lot of sessions! Time frame is probably 80's-early 90s? Pretty heavy-duty rapid-fire action going on w/the guitarist, and a pleasant ideas-to-patterns ratio.

TRACK TWO - French horn? Moody/thoughtful, although a mood & some thoughts I'm just not feeling at this listen. Again, my fault, not theirs. French hornist is making some pretty broad interval leaps with confidence, kudos for not half-steppin'. Pianist is well-schooled.

TRACK THREE - I'm feeling this one more than the first two. The older I get, the more I appreciate cadences, rhythmic as well as harmonic. Don't need "literalness", just a feel that shapes are being considered and formed and confronted along the way and that one is not just trying to get somewhere by avoiding contact. This one seems somewhat familiar, but nothing jumps out. A little goes a long way with regular size humans like these folk would appear to be, not giants, but this is neither too much nor too far.

TRACK FOUR - No. Mingus-y for all the wrong reasons in all the wrong ways. Or so it seems to me. Same with the pianist's recurrent early-Cecilisms.

TRACK FIVE - Kenny Wheeler? Dave Douglas? Definitely a piece with form! I applaud the sincerity, but the drummer bugs me. I don't dig that ricky-tick shit. Baby Dodds was so NOT ricky-tick. This type drumming is post-modern corniness. No idea who it is, or of this is always the feel with which they play, so I'm specifically talking about just here, this one tune. But I hear more and more of it in more and more places, and...I don't like it. Swing is a noun, not an adjective!

Nevertheless, a tightly executed piece played with vim, vigor & vitality. Plenty worse has been done, and if I "appreciate" the drumming more than try to climb aboard it, it's ok.

TRACK SIX - Why does this remind me of Gabor Szabo w/Chico Hamilton when it's not at all like it? Hell if I know. But that's a good thing. The beat...with that bass line, I'm hearing a deconstruction of On the Corner-ish with the intent of bringing it back to one of its many homes for a family vacation. And it's working so far. This kind of stuff is not at all easy to play over if you're not organic at some level to the source. I've done some of it in the past, and it's a whole 'nother zone, as it should be.

Nice cut. Not too long, almost too heavy towards the end, but taste prevailed. Gotta love it when that happens! This ain't from Miles From India is it? Naah...

TRACK SEVEN - OBEY YOUR THIRST! This record should be MUCH better known than it is. Perry's not REAL "fluent" over the changes (compare his line w/Barron's), but he is totally "in there" as far as hearing and feeling the music as it goes along, so hey. Take it!

TRACK EIGHT - I dig what they're doing and the hows & whys as well, but I'm just not into it right now. A few years ago, yeah, but now? Maybe it's me, maybe it's that this type thing is on its third or fourth (or fifth?) generation and has evolved into a language just as fraught with cliche as any other. Still and again, my problem, not theirs.

TRACK NINE - Don Cherry w/Arthur Blythe's band? Or are there two tubas? I like the pocket of this one, not ricky-tick, some real swing, and when tuba walks, tuba WALKS, no waddling. Well, that's not Blythe, but that is Cherry.

TRACK TEN - Huh? Old school tunings and concepts, new-school recording... No idea who it is, but the drummer sounds freakin' great. That tuning and precise enunciation/articulation....beautiful! The rest of it sounds a little...not quite real, but that drummer (geez, is that Blackwell?) makes them unnecessary, really, except as something to be there for him/her to play off.

TRACK ELEVEN - Something....quirky about this one...the drummer's pocket is either rooted in Vernell Fournier or hip-hop (or both as same...), and the pianist's right hand is not that of a "jazz" pianist of these times...the whole thing says "New Orleans" to me somehow.

TRACK TWELVE - Well hey! My first exposure to "early" Cecil...I remember getting this on the old BN "paper bag" two-fer, getting blown away by how hard it swung, and then a few weeks later reading somewhere how nobody involved really thought it was all it could have been, even that Lacy had to be in a different room and play along with the trio getting piped in on a speaker! Oh well, just goes to show you that all we know is all we know, so don't ever think you know unless you can prove otherwise, eh?

But yeah...I gotta love this, even though it's apparently not worthy. Call me a pushover.

All right Mister Barton, an enjoyable excursion indeed. Much unfamiliar only one thing I disliked altogether, and even a few familiarities. Works for me.

Gracias beaucoup!

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Okay, I tried. I really did. I couldn't come up with any comments that didn't reflect my distaste for the avant-garde. So then I came here to read some comments and seeing some of the names offered confirmed my suspicions: Bennink, Herwig, Lacy, Cecil Taylor, Cherry, Hat, Tiny Bell Trio, etc. Music I don't go out of my way to listen to and after listening to this CD, well.... if nothing else, in case I ever get interested in the avant-garde, I'll have this CD as a reminder of why I generally avoid the stuff! :)

Rant over. I'm glad everyone else enjoyed this BFT, just 'twasn't my cuppa tea!

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Al, you might want to try Herwig's "the latin side of..." sides before you write him off as an unrepentant avant-garder. They're totally inside and totally grooving, not unlike Woody Shaw meets Eddie Palmieri.

d85296iva42.jpgg27162psg7m.jpg

Besides, I went to NT w/the guy back in the day, and trust me, he's about as "inside" at the core as you could want. Definitely somebody who starts inside & works outward, that's him.

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Al, you might want to try Herwig's "the latin side of..." sides before you write him off as an unrepentant avant-garder. They're totally inside and totally grooving, not unlike Woody Shaw meets Eddie Palmieri.

d85296iva42.jpgg27162psg7m.jpg

Besides, I went to NT w/the guy back in the day, and trust me, he's about as "inside" at the core as you could want. Definitely somebody who starts inside & works outward, that's him.

agreed.

i generally don't think "avant-garde" when i think of Herwig. he stretches for sure, but i think of him as a relatively straight-ahead player: time, tone, licks, changes, etc... i have his With Every Breath record. killer.

i do have his duets w/ Beirach. now that's something i could think of as avantgarde. but it's the only thing i know of by him that's like that. maybe i haven't been keeping up on him enough...

edit: hey - wait a minute! there was some Herwig on this BFT?! i gotta go back and check the answers...

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Guest Bill Barton

Al, you might want to try Herwig's "the latin side of..." sides before you write him off as an unrepentant avant-garder. They're totally inside and totally grooving, not unlike Woody Shaw meets Eddie Palmieri.

d85296iva42.jpgg27162psg7m.jpg

Besides, I went to NT w/the guy back in the day, and trust me, he's about as "inside" at the core as you could want. Definitely somebody who starts inside & works outward, that's him.

agreed.

i generally don't think "avant-garde" when i think of Herwig. he stretches for sure, but i think of him as a relatively straight-ahead player: time, tone, licks, changes, etc... i have his With Every Breath record. killer.

i do have his duets w/ Beirach. now that's something i could think of as avantgarde. but it's the only thing i know of by him that's like that. maybe i haven't been keeping up on him enough...

edit: hey - wait a minute! there was some Herwig on this BFT?! i gotta go back and check the answers...

No, there isn't anything by Herwig here. His name was brought up as a possibility for the trombonist on track two.

And I don't think of him as necessarily "avant-garde" either, though Intimate Conversations with Beirach flirts with atonality its unrepentant romanticism and introspection have more in common with (some) Bill Evans and (some) Jim Hall than the Lefties. Damn pigeonholes! We all use these terms to talk about the music but bottom-line is that either it reaches you or not.

I'll have more in-depth responses to the other recent posts soon...

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Guest Bill Barton

...8. An improvisation (seemingly) in which the three players are on somewhat related paths. Each player is going his/her own way, while listening to the others. This is a common free improve strategy; it avoids the kind of “call and response,” imitative interaction that can become tiresome. I’m impressed with the range of strategies the alto player uses to keep things interesting: microtones, bending pitches, growling, varying the vibrato. A thoughtful blend of interplay and non-interplay. I have no idea who anybody is...

...8. Well, I don't know what to say here. One time through I hate it and the next time I think this is pretty good. On one listen I thought I heard similarities to the Braxton/Crispell/Hemingway/Dressler group. Next time not so much. ??!!??...

...8. Julius Hemphill? Terrific music...

...8 -- Not loving this. I don't mind it's 'outness', but it lacks that magical ingredient... that 'spiritual unity'. A post-Trane guy... maybe something obscure by Noah Howard? Doesn't sound strong enough to me...

...8) the wonky pitching initially made me think this was Maneri, but, nah, it's not got the character I think & this doesn't sound like his kind of ensemble (the twinkling-stars piano in particular). Like track 2 I kept wondering why it was taking so long to get out of a floaty impressionist opener & then realized it wasn't going to. Eh. This is the kind of sensitive additive improv that kinda bugs me with the sense that they're too worried about coherence & mood--each gesture seems to be too closely tied to the last one, so in the end you don't feel enough mental/logical/textural leaps have been made (& on the other hand, a particular idea isn't really explored in depth either). So what...

...8. tenor-piano-bass-drums. I want and feel like I should be intrigued, but sorry to say this particular track did not move me much. I would like to hear another track by this group, because I do like the tenor’s sound and would be willing to give them another chance on something with a little more overt structure...

So far, this track has been the most puzzling and - as you can "see" from the above quotes - has received a wide variety of responses both pro and con and in between. Now that the month is winding down I'll drop a couple more hints... The saxophonist (yes, it's alto and not tenor), pianist and drummer/percussionist are all Seattle resident musicians. The bassist used to live in Seattle.

My apologies to Bill for my tardiness in responding. I listened to it a couple of times immediately after downloading it, but then got very busy with work and traveling. I have not read anything else before posting my own responses here.

No apologies necessary, Ronald. I'm "semi-retired" and now have the luxury of listening - and posting here - according to my own schedule. Obviously that is not the case with many board members including yourself.

1. Interesting guitar-drums and maybe bass performance. I like this sort of edgy, clean toned guitar playing. Toward the end there were some glimpses of Metheny’s tone, but not enough for me to confidently commit. Interesting track.

The tone is rather Metheny-ish at points. I wonder whether the guitarist (O'Leary) would agree. Hmmmm... I'll have to ask him.

2. Trombone-piano duet. It could be a French horn. It is an effectively moody piece, but after several listens it did not make any significant impressions on me.

Priester's range and control on trombone are phenomenal and he does at times sound like he's playing a French horn. The moodiness of this piece was noted before. It is indeed very, very melancholy. The CD it is taken from is a "concept album" and that mood - in various permutations - is present throughout. Another hint: the CD concept directly relates to a tragic historical figure.

3. A saxophone/clarinet ensemble. The tune has a tango feel to it. The only comparable ensembles I am familiar with are the World Saxophone Quartet and possibly the Julius Hemphill Sextet. I am fairly certain this is not either of those groups. In any event, the performance peaked my interest enough to consider possibly hearing more by the group.

This has been correctly identified as Atipico Trio. The track is "Red Tango."

4. Piano-bass-drums trio. The bass could be a cello. My favorite track so far. It could be one of the Dutch groups or possibly someone like Simon Nabatov. Love the tension in the pianist’s playing as he/she gradually deconstructs the familiar tune. The string solo tells me that it is a bass and not cello. Very intriguing.

Yes, it is Simon Nabatov. The cellist Ernst Reijseger has been previously identified. He does sound much like a good bassist in the solo section. Your reaction is very similar to my own when I first heard this CD.

5. Trumpet-guitar-drums. The trumpeter sounds like Dave Douglas. It could be his Tiny Bell Trio. I am pretty sure it is Douglas and the drummer does sound like Jim Black to me, so I will go out on a limb and guess it is the Tiny Bell Trio. I have mixed feelings about Douglas. I have heard some stuff by him that I have loved such as his sextet recordings and a live concert I saw with Roswell Rudd. Other stuff just bores me. Can’t say he does not take chances though. I have not heard much of the Tiny Bell Trio, but assuming this is them, this performance would lean toward the stuff from Douglas that I like. Of course, if it is not Douglas then everything I just wrote was a waste of time.

Yes, indeed it is the Tiny Bell Trio. My take on Douglas is somewhat different than yours, as I haven't really heard anything of his that bored me. Granted, some recordings grab me more than others, but on the whole there haven't been any duds for my ears. Woulda loved to hear him with Rudd!

6. Sounds like Rabih Abou-Khalil or another group with middle eastern or possibly Indian influences. It certainly is exotic and the clarinet solo reinforces the overall texture. As the song goes on I am now convince it is not Abou-Khalil – the guitar solo is outside I have ever heard from him and honestly takes away from the performance for me. Without the guitarist this would be very interesting.

The guitarist has already been identified as Brad Shepik, who also plays on the preceding track with Tiny Bell. The clarinetist remains a mystery. Another hint: think Pacific Northwest.

7. This is the second track from this recording PR. Very distinctive clarinetist – I was listening to his recordings intensely for a while. Also, his biography, The Traveler, is a fairly interesting read. Thumbs up for this one.

Score! He's one of my all-time favorites. I've been searching (without any luck) for a copy of the Chiaroscuro album also titled The Traveler for ages. We had it at WRUV-FM back in the late 1970s and I played the heck out of it on my radio shows.

8. tenor-piano-bass-drums. I want and feel like I should be intrigued, but sorry to say this particular track did not move me much. I would like to hear another track by this group, because I do like the tenor’s sound and would be willing to give them another chance on something with a little more overt structure.

See above.

9. Tuba-sax-trumpet-drums. Great stuff. It is an Ornette tune and the trumpeter even has some Cherry-like splashes. The saxophonist is very familiar, but I can not positively identify any one at this moment.

It is indeed Cherry.

10. This is the most up beat, swinging, straight ahead track we have heard so far. No fault of the music, but I got distracted for a moment. For the most part I enjoyed what I heard, but it does not give the same kind of stimulation many of the other tracks did.

Granted.

11. Wow, another happy piano trio. Solid playing, but not as interesting to me as the preceding track.

Your response is intriguingly different than other BFT participants so far. My gut reaction to this track when I first heard it was "happy" too.

12. The disc ends with some more tension filled piano playing ala Cecil Taylor with the incomparable Steve Lacy on soprano. Every time I heard Cecil from this period I am more convinced that this is some of the most amazing piano playing I have heard.

Yes.

I feer that I dun been a little laggardly with a-gettin' to this, but we have had some injury in the Sangrey household & my joints still be a-achin' like all git-out. I hope that you feel better soon, Jim. Still, enuff's zenuff, so, the usual thanks and disclaimers in place in perpetuity, away we go!

TRACK ONE - Clever & crafty. Fine playing indeed, but I wonder about having all those chops and wanting to put them up against a four-on-the-floor bass drum & and a sprung shuffle beat. That bugs me for some reason, but it's my problem, not theirs. Otherwise, you can sure tell that they've practiced a lot and played a lot of sessions! Time frame is probably 80's-early 90s? Pretty heavy-duty rapid-fire action going on w/the guitarist, and a pleasant ideas-to-patterns ratio.

Other than the time frame (think 2000s) you're pretty much on-the-money from my perspective.

TRACK TWO - French horn? Moody/thoughtful, although a mood & some thoughts I'm just not feeling at this listen. Again, my fault, not theirs. French hornist is making some pretty broad interval leaps with confidence, kudos for not half-steppin'. Pianist is well-schooled.

You're not alone in thinking that it's French horn rather than Julian Priester on trombone. With the month slippin' away, how about 'nother coupla hints on the pianist? He lives in Seattle but plays more often in Argentina, Chile and Europe. And he's recorded relatively extensively for Bob Rusch.

TRACK THREE - I'm feeling this one more than the first two. The older I get, the more I appreciate cadences, rhythmic as well as harmonic. Don't need "literalness", just a feel that shapes are being considered and formed and confronted along the way and that one is not just trying to get somewhere by avoiding contact. This one seems somewhat familiar, but nothing jumps out. A little goes a long way with regular size humans like these folk would appear to be, not giants, but this is neither too much nor too far.

Well said! Like the title of that Don Cherry/Jon Appleton album, Human Music.

TRACK FOUR - No. Mingus-y for all the wrong reasons in all the wrong ways. Or so it seems to me. Same with the pianist's recurrent early-Cecilisms.

You're definitely not alone when it comes to reservations about this one... Oh well, dare I say that it is one of my personal favorites among the tracks? Go figure...

TRACK FIVE - Kenny Wheeler? Dave Douglas? Definitely a piece with form! I applaud the sincerity, but the drummer bugs me. I don't dig that ricky-tick shit. Baby Dodds was so NOT ricky-tick. This type drumming is post-modern corniness. No idea who it is, or of this is always the feel with which they play, so I'm specifically talking about just here, this one tune. But I hear more and more of it in more and more places, and...I don't like it. Swing is a noun, not an adjective!

As previously identified, it is Douglas with the Tiny Bell Trio, and that's Jim Black makin' you feel uncomfortable. Are you sure that "swing" isn't an interjection? :w

Nevertheless, a tightly executed piece played with vim, vigor & vitality. Plenty worse has been done, and if I "appreciate" the drumming more than try to climb aboard it, it's ok.

TRACK SIX - Why does this remind me of Gabor Szabo w/Chico Hamilton when it's not at all like it? Hell if I know. But that's a good thing. The beat...with that bass line, I'm hearing a deconstruction of On the Corner-ish with the intent of bringing it back to one of its many homes for a family vacation. And it's working so far. This kind of stuff is not at all easy to play over if you're not organic at some level to the source. I've done some of it in the past, and it's a whole 'nother zone, as it should be.

Nice cut. Not too long, almost too heavy towards the end, but taste prevailed. Gotta love it when that happens! This ain't from Miles From India is it? Naah...

You know, that's a pretty cool parallel. It may not sound anything like the Chico group with Gabor Szabo but there is a feeling that's very similar. The guitarist (Brad Shepik) has already been identified and has received mixed reviews for this track.

TRACK SEVEN - OBEY YOUR THIRST! This record should be MUCH better known than it is. Perry's not REAL "fluent" over the changes (compare his line w/Barron's), but he is totally "in there" as far as hearing and feeling the music as it goes along, so hey. Take it!

This track has been recognized by many folks here. I'm happy to see that. He's long been one of my top faves. It was a serious bummer when he played Seattle recently and I had to miss it because of another commitment. The only time I've ever heard him live was with Two Generations of Brubeck a lonnnnnnng time ago, which was not a terribly memorable show except for his playing and that of Peter "Madcat" Ruth.

TRACK EIGHT - I dig what they're doing and the hows & whys as well, but I'm just not into it right now. A few years ago, yeah, but now? Maybe it's me, maybe it's that this type thing is on its third or fourth (or fifth?) generation and has evolved into a language just as fraught with cliche as any other. Still and again, my problem, not theirs.

See above.

TRACK NINE - Don Cherry w/Arthur Blythe's band? Or are there two tubas? I like the pocket of this one, not ricky-tick, some real swing, and when tuba walks, tuba WALKS, no waddling. Well, that's not Blythe, but that is Cherry.

Yeah, Bob Stewart RULES. And, nope, only one tuba. I'm a real sucker for tuba when it's done right. And it sure as hell is done right here. Multikulti.

TRACK TEN - Huh? Old school tunings and concepts, new-school recording... No idea who it is, but the drummer sounds freakin' great. That tuning and precise enunciation/articulation....beautiful! The rest of it sounds a little...not quite real, but that drummer (geez, is that Blackwell?) makes them unnecessary, really, except as something to be there for him/her to play off.

The incredible Ed Blackwell gets an encore (he's on the preceding track too). This is indeed a curious track, one that similarly has received mixed reactions. Your thought that everything other than the drums is superfluous may well be the most perceptive response I've heard (including my own.) Never thought of it that way before, but YEAH.

TRACK ELEVEN - Something....quirky about this one...the drummer's pocket is either rooted in Vernell Fournier or hip-hop (or both as same...), and the pianist's right hand is not that of a "jazz" pianist of these times...the whole thing says "New Orleans" to me somehow.

Quirky is the perfect word for this performance. Sun Ra with Luqman Ali on drums and Richard Williams (barely heard) on bass.

TRACK TWELVE - Well hey! My first exposure to "early" Cecil...I remember getting this on the old BN "paper bag" two-fer, getting blown away by how hard it swung, and then a few weeks later reading somewhere how nobody involved really thought it was all it could have been, even that Lacy had to be in a different room and play along with the trio getting piped in on a speaker! Oh well, just goes to show you that all we know is all we know, so don't ever think you know unless you can prove otherwise, eh?

But yeah...I gotta love this, even though it's apparently not worthy. Call me a pushover.

Many of us have been similarly pushed over...

All right Mister Barton, an enjoyable excursion indeed. Much unfamiliar only one thing I disliked altogether, and even a few familiarities. Works for me.

Gracias beaucoup!

siete boa vinda!

Okay, I tried. I really did. I couldn't come up with any comments that didn't reflect my distaste for the avant-garde. So then I came here to read some comments and seeing some of the names offered confirmed my suspicions: Bennink, Herwig, Lacy, Cecil Taylor, Cherry, Hat, Tiny Bell Trio, etc. Music I don't go out of my way to listen to and after listening to this CD, well.... if nothing else, in case I ever get interested in the avant-garde, I'll have this CD as a reminder of why I generally avoid the stuff! :)

Happy to be of service, my man. ;) Ironically, this selection of tracks was much less "extreme" than I'd originally envisioned. To my ears, it seemed pretty tame, but then again my ears are rather attuned to the edgier, more adventurous tangents of jazz/creative improvised music. I felt similarly out of my depth in BERIGAN's and Dan's BFTs although I like and know a little about those eras and assorted styles myself. In fact, I'm - some would say - almost scarily eclectic in my listening habits.

Rant over. Not a rant. I'm glad everyone else enjoyed this BFT, just 'twasn't my cuppa tea! Not a cuppa tea. More like a triple shot espresso!

Edited by Bill Barton
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My tastes go toward the more "adventurous" (I like that description) as well, so I didn't think your BFT was that far out either.

From your hints, I am going to guess that the piano on 2 is David Haney. Don't have a larger point of reference but I would have never guessed that from just listening.

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Okay, I tried. I really did. I couldn't come up with any comments that didn't reflect my distaste for the avant-garde. So then I came here to read some comments and seeing some of the names offered confirmed my suspicions: Bennink, Herwig, Lacy, Cecil Taylor, Cherry, Hat, Tiny Bell Trio, etc. Music I don't go out of my way to listen to and after listening to this CD, well.... if nothing else, in case I ever get interested in the avant-garde, I'll have this CD as a reminder of why I generally avoid the stuff! :)

Happy to be of service, my man. ;) Ironically, this selection of tracks was much less "extreme" than I'd originally envisioned. To my ears, it seemed pretty tame, but then again my ears are rather attuned to the edgier, more adventurous tangents of jazz/creative improvised music. I felt similarly out of my depth in BERIGAN's and Dan's BFTs although I like and know a little about those eras and assorted styles myself. In fact, I'm - some would say - almost scarily eclectic in my listening habits.

Pretty tame? Man, I wanna hear what the non-tame version sounded like! :D

I used to think I was pretty eclectic, but recently I've come to the realization and acceptance that I'm just a boring old Blue Note-type mainstreamer who ventures slightly outside the lines now and again. I must be getting old!

Rant over. Not a rant. I'm glad everyone else enjoyed this BFT, just 'twasn't my cuppa tea! Not a cuppa tea. More like a triple shot espresso!

Make mine a sextet and I'll try and sit thru this again! :lol:

Edited by Big Al
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Guest Bill Barton

My tastes go toward the more "adventurous" (I like that description) as well, so I didn't think your BFT was that far out either.

From your hints, I am going to guess that the piano on 2 is David Haney. Don't have a larger point of reference but I would have never guessed that from just listening.

Score! It is indeed David Haney. He now lives in Seattle and has been a frequent guest on my radio show: a very nice guy as well as being a superb, multi-faceted musician. Keep an ear to the ground for a planned CD release in duo with Bernard "Pretty" Purdie (he's still "shopping it around" in search of a label.)

Okay, I tried. I really did. I couldn't come up with any comments that didn't reflect my distaste for the avant-garde. So then I came here to read some comments and seeing some of the names offered confirmed my suspicions: Bennink, Herwig, Lacy, Cecil Taylor, Cherry, Hat, Tiny Bell Trio, etc. Music I don't go out of my way to listen to and after listening to this CD, well.... if nothing else, in case I ever get interested in the avant-garde, I'll have this CD as a reminder of why I generally avoid the stuff! :)

Happy to be of service, my man. ;) Ironically, this selection of tracks was much less "extreme" than I'd originally envisioned. To my ears, it seemed pretty tame, but then again my ears are rather attuned to the edgier, more adventurous tangents of jazz/creative improvised music. I felt similarly out of my depth in BERIGAN's and Dan's BFTs although I like and know a little about those eras and assorted styles myself. In fact, I'm - some would say - almost scarily eclectic in my listening habits.

Pretty tame? Man, I wanna hear what the non-tame version sounded like! :D

:w That can be arranged... Maybe I'll sign up for another one of these BFTs. This was great fun!

I used to think I was pretty eclectic, but recently I've come to the realization and acceptance that I'm just a boring old Blue Note-type mainstreamer who ventures slightly outside the lines now and again. I must be getting old!

:rofl: Aren't we all! Wait, no, I have a birthday coming up soon and my pledge is to start getting younger with every birthday anniversary from now on.

Rant over. Not a rant. I'm glad everyone else enjoyed this BFT, just 'twasn't my cuppa tea! Not a cuppa tea. More like a triple shot espresso!

Make mine a sextet and I'll try and sit thru this again! :lol:

:tup

Okay, I think that almost everyone who signed up for this little soiree has been heard from now. Bright Moments, Durium, mikeweil and papsrus are, I believe, the only members on the original sign-up list who haven't "dived in."

Edited by Bill Barton
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Guest Bill Barton

This is off topic, but can your radio show be heard on the net?

Yes, it is indeed heard online.

KBCS home page

audio (up for 14 days past airdate) and playlist archive

"Bright Moments" playlists here at the Big O

KBCS is a true community radio station and has lots more jazz, a wide variety of other music, very good local/regional news and public affairs programming, the BBC and tons more. I feel very privileged to be associated with them.

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Guest Bill Barton

I'll be posting the answers tomorrow, so if anyone else is still interested in taking part, Big Ben is "officially" tolling the Eleventh Hour... :D

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