BFT #78 Discussion Thread

[seeline]

I believe the player on #9 is Ran Blake, from this album... and although I kind of agree with what jeffcrom says about the playing, there are things about it that I genuinely like. (thank you, gods of emusic.com!)

Edited to add: is #3 Paul McCandless on oboe?

#13 is bugging me... I think I do know the pianist, though this might not be a setting where I'd expect to hear them. Nice groove, and some very nice tpt soloing.

It sounds like someone contemporary playing in a somewhat "retro" style - most "Latin jazz" artists today are working with much more complex material, not groove-based tunes like this one, except as a way to lighten up the mood after some really dense tracks. (Sort of; I don't think I'm explaining this very well.)

So - is it Edward Simon playing with Terence Blanchard's band, by any chance?

Edited September 3, 2010 by seeline

[Hot Ptah]

I believe the player on #9 is Ran Blake, from this album... and although I kind of agree with what jeffcrom says about the playing, there are things about it that I genuinely like. (thank you, gods of emusic.com!)

THAT'S RIGHT!!!!! YOU GET AN A+!!!

Edited to add: is #3 Paul McCandless on oboe?

#13 is bugging me... I think I do know the pianist, though this might not be a setting where I'd expect to hear them. Nice groove, and some very nice tpt soloing.

It sounds like someone contemporary playing in a somewhat "retro" style - most "Latin jazz" artists today are working with much more complex material, not groove-based tunes like this one, except as a way to lighten up the mood after some really dense tracks. (Sort of; I don't think I'm explaining this very well.)

So - is it Edward Simon playing with Terence Blanchard's band, by any chance?

All other guesses are not correct.

Edited September 3, 2010 by Hot Ptah

[seeline]

Well, hey.. a shot in the dark, right? (The 2 wrong answers.) And i used the emusic.com search engine to pull up the correct answer on "Eronel," so I'm not sure that I really *did* earn that A+. (they've got 30-second clips over there, just like Amazon.com does.)

McCandless seems to be on albums by everyone under the sun, which is one reason I chose his name.

Hmm... back to cogitating. That pianist (tk. 13) is a poser! If I should happen to guess that one right, it'll be a randomly submitted name.

Edited September 3, 2010 by seeline

[The Magnificent Goldberg]

Re. the Kirby track, that's lovely! A lot of his recordings used to be available on emusic.com, but unfortunately, there's some sort of licensing problem in the US. Damn!

Licensing problem? It's all out of copyright, even under US law! Buy the Andorran 2 CD set!

MG

[jeffcrom]

Part two:

9. Monk’s music, like Bach’s, should be able to stand up to a wide range of interpretations, but this pianist shows a basic misunderstanding of what the music is all about. It’s okay to play “Eronel” slowly like this – I kind of like the tempo – but he or she puts some of Monk’s syncopations squarely on the beat, playing havoc with Monk’s musical intentions. And there’s a “prettiness” to the whole thing – some dissonances notwithstanding. I’m going to be an old curmudgeon and say that I didn’t care for this.

I think that when the pianist is identified, you will find it interesting. I confess that I included this partly because the pianist is an Organissimo board favorite, and I wanted to see if anyone would not really like this pianist if they heard this pianist's playing without knowing who it is.

I'm very surprised. And now that I know who it is, I can't let my statement stand - I can't bring myself to say that Ran Blake doesn't understand Monk's music. His essay on the Blue Note recordings alone proves otherwise. But I will say that, in my opinion, he made some unfortunate choices here. Among other things, he rhythmically decimated Monk's piece. I love Ran Blake, but I don't like this.

Edited September 3, 2010 by jeffcrom

[Hot Ptah]

Part two:

9. Monk’s music, like Bach’s, should be able to stand up to a wide range of interpretations, but this pianist shows a basic misunderstanding of what the music is all about. It’s okay to play “Eronel” slowly like this – I kind of like the tempo – but he or she puts some of Monk’s syncopations squarely on the beat, playing havoc with Monk’s musical intentions. And there’s a “prettiness” to the whole thing – some dissonances notwithstanding. I’m going to be an old curmudgeon and say that I didn’t care for this.

I think that when the pianist is identified, you will find it interesting. I confess that I included this partly because the pianist is an Organissimo board favorite, and I wanted to see if anyone would not really like this pianist if they heard this pianist's playing without knowing who it is.

I'm very surprised. And now that I know who it is, I can't let my statement stand - I can't bring myself to say that Ran Blake doesn't understand Monk's music. His essay on the Blue Note recordings alone proves otherwise. But I will say that, in my opinion, he made some unfortunate choices here. Among other things, he rhythmically decimated Monk's piece. I love Ran Blake, but I don't like this.

Ran Blake's playing here is interesting to me too, because I read in Robin Kelley's Monk biography about how he was personally rather close to Monk and his family, and used to babysit daughter Barbara. He had an opportunity to learn more about Monk's music than just about any other pianist, and yet, this result is not entirely satisfying.

I remember a thread on Ran Blake here at Organissimo where the general consensus was that he was a near deity, and I thought at the time that a more detailed discussion of his music might be in order, with dissenting opinions possible.

____________________________________________________________________________________

"5. Anitra's Dance, after an intro that threw me. It's a John Kirby sextet, or someone who copped the instrumentation and attitude.

DING DING DING!!! WE HAVE A WINNER! CORRECT SONG TITLE AND ARTIST!!!

It is interesting that you mentioned "or someone who copped the instrumentation and attitude" because Don Byron recorded a note for note rendition

of this Kirby arrangement on his "Bug Music" album, over 50 years after the original recording. But this is the original, not the Byron."

I posted this comment in response to Spontooneous' identification of this song. I played Bug Music this morning and to my surprise, Anitra's Dance is not on the album. I could have sworn that it was. I could hear Byron's version as I listened to the Kirby original. But I was wrong. Bug Music does have some songs by Kirby's group, played note for note, but not Anitra's Dance.

Edited September 3, 2010 by Hot Ptah

[Hot Ptah]

5 I think I recognise this. It’s one of the classical pieces adapted by the John Kirby sextet. Now, if I could only think of the title, I’d get this. Got to say, it sounds a bit different from the (Andorran) CD I have of that band.

MG

The John Kirby CD which I used for this cut is an ASV Living Era release, dated 1999. The address of the label is 1 Lochaline Street, London W6 9SJ.

[Hot Ptah]

It appears that we still have no clear identification of Tracks 3, 8, 10, 13 and 15.

On track 4, we don't have a song title.

[Noj]

Haven't read any responses, but I can identify one track right away since it is a favorite of mine. Track #13 is Eddie Palmieri "Chocolate Ice Cream" from the album Super Imposition.

[Hot Ptah]

Haven't read any responses, but I can identify one track right away since it is a favorite of mine. Track #13 is Eddie Palmieri "Chocolate Ice Cream" from the album Super Imposition.

WAY TO GO, NOJ!!!!

THAT IS CORRECT!!!

This is the one song that I thought that no one would identify. It is written by the Cuban trumpeter Alfredo "Chocolate" Armenteros, who plays the trumpet solo. Eddie Palmieri plays the piano solo.

I first heard it on the recent Eddie Palmieri career retrospective anthology on Fania. The liner notes are interesting as they state that Eddie Palmieri would from time to time leave salsa music for the much less interesting genre of Latin jazz, before coming back to the real music, salsa. It is not said quite that bluntly, but almost. The notes state that within the Latin jazz genre, "Chocolate Ice Cream" is one of his best recordings.

Noj, you have surprisingly wide tastes, rap, now this!

Edited September 3, 2010 by Hot Ptah

[Jim R]

Haven't read any responses, but I can identify one track right away since it is a favorite of mine. Track #13 is Eddie Palmieri "Chocolate Ice Cream" from the album Super Imposition.

Noj comes off a screen from Lamar Odom... he takes the pass from Kobe... and SLAMS it down!

[Noj]

Haven't read any responses, but I can identify one track right away since it is a favorite of mine. Track #13 is Eddie Palmieri "Chocolate Ice Cream" from the album Super Imposition.

WAY TO GO, NOJ!!!!

THAT IS CORRECT!!!

This is the one song that I thought that no one would identify. It is written by the Cuban trumpeter Alfredo "Chocolate" Armenteros, who plays the trumpet solo. Eddie Palmieri plays the piano solo.

I first heard it on the recent Eddie Palmieri career retrospective anthology on Fania. The liner notes are interesting as they state that Eddie Palmieri would from time to time leave salsa music for the much less interesting genre of Latin jazz, before coming back to the real music, salsa. It is not said quite that bluntly, but almost. The notes state that within the Latin jazz genre, "Chocolate Ice Cream" is one of his best recordings.

Noj, you have surprisingly wide tastes, rap, now this!

A good friend of mine has connections with the Fania label, and he gave me a whole bunch of 'em so I was on a salsa/latin jazz kick for a bit. "Chocolate Ice Cream" is just sublime by my tastes, and has been in my Overall Favorites playlist for about a year. So good.

I was useless at identifying any of the other tracks, so I read everyone's posts. I knew I'd heard #2 before, and I have this mountainous Sun Ra collection including the album this song is from that I haven't been able to spend all that much time with yet.

Very enjoyable compilation, Hot Ptah. Thanks for putting it together.

[seeline]

Haven't read any responses, but I can identify one track right away since it is a favorite of mine. Track #13 is Eddie Palmieri "Chocolate Ice Cream" from the album Super Imposition.

WAY TO GO, NOJ!!!!

THAT IS CORRECT!!!

This is the one song that I thought that no one would identify. It is written by the Cuban trumpeter Alfredo "Chocolate" Armenteros, who plays the trumpet solo. Eddie Palmieri plays the piano solo.

I first heard it on the recent Eddie Palmieri career retrospective anthology on Fania. The liner notes are interesting as they state that Eddie Palmieri would from time to time leave salsa music for the much less interesting genre of Latin jazz, before coming back to the real music, salsa. It is not said quite that bluntly, but almost. The notes state that within the Latin jazz genre, "Chocolate Ice Cream" is one of his best recordings.

Noj, you have surprisingly wide tastes, rap, now this!

A good friend of mine has connections with the Fania label, and he gave me a whole bunch of 'em so I was on a salsa/latin jazz kick for a bit. "Chocolate Ice Cream" is just sublime by my tastes, and has been in my Overall Favorites playlist for about a year. So good.

I was useless at identifying any of the other tracks, so I read everyone's posts. I knew I'd heard #2 before, and I have this mountainous Sun Ra collection including the album this song is from that I haven't been able to spend all that much time with yet.

Very enjoyable compilation, Hot Ptah. Thanks for putting it together.

Noj - great, great move!!!

I *should* have recognized it, or at least, I should have nailed chocolate's playing. (Guess I was right in saying it wasn't contemporary... but it doesn't have all the hallmarks of an NY tune - if you listen to Ray Barretto's from the same time period, for example, you'll hear something different.)

I feel like this is "What's My Line?" or "To Tell the Truth."

a terrific BFT so far, and a great panel.

Edited September 4, 2010 by seeline

[Hot Ptah]

Haven't read any responses, but I can identify one track right away since it is a favorite of mine. Track #13 is Eddie Palmieri "Chocolate Ice Cream" from the album Super Imposition.

WAY TO GO, NOJ!!!!

THAT IS CORRECT!!!

This is the one song that I thought that no one would identify. It is written by the Cuban trumpeter Alfredo "Chocolate" Armenteros, who plays the trumpet solo. Eddie Palmieri plays the piano solo.

I first heard it on the recent Eddie Palmieri career retrospective anthology on Fania. The liner notes are interesting as they state that Eddie Palmieri would from time to time leave salsa music for the much less interesting genre of Latin jazz, before coming back to the real music, salsa. It is not said quite that bluntly, but almost. The notes state that within the Latin jazz genre, "Chocolate Ice Cream" is one of his best recordings.

Noj, you have surprisingly wide tastes, rap, now this!

A good friend of mine has connections with the Fania label, and he gave me a whole bunch of 'em so I was on a salsa/latin jazz kick for a bit. "Chocolate Ice Cream" is just sublime by my tastes, and has been in my Overall Favorites playlist for about a year. So good.

I was useless at identifying any of the other tracks, so I read everyone's posts. I knew I'd heard #2 before, and I have this mountainous Sun Ra collection including the album this song is from that I haven't been able to spend all that much time with yet.

Very enjoyable compilation, Hot Ptah. Thanks for putting it together.

Noj - great, great move!!!

I *should* have recognized it, or at least, I should have nailed chocolate's playing. (Guess I was right in saying it wasn't contemporary... but it doesn't have all the hallmarks of an NY tune - if you listen to Ray Barretto's from the same time period, for example, you'll hear something different.)

I feel like this is "What's My Line?" or "To Tell the Truth."

a terrific BFT so far, and a great panel.

seeline, I have the Ray Barretto career anthology on Fania too. I think his music is grittier that Palmieri's, for lack of a better term. How would you describe the differences between them, and why "Chocolate Ice Cream" is not a typical New York tune of the time?

Thanks for the nice comments about my Blindfold Test.

[seeline]

*** I misspoke: Chocolate Ice Cream is very much an NY-style tune, but an offshoot of what a lot of people now call "hard salsa" (salsa dura).

If you listen to some of Eddie's earlier recordings, you'll see what I mean. Ray was very involved with making dance music (straight-ahead NY-style salsa) for a longer time than Eddie was, but... I think Ray's love of jazz always showed through. (Which isn't a very good explanation at all; maybe I can find some videos for you over on YouTube...)

Eddie was working more in the "Latin soul" style (also bugalú - kind of a subset of Latin soul) when he made some of his most famous records in the late 60s-mid 70s. It's an NY thing - coming from the Puerto Rican community + all the other folks in the NY barrios at the time. You can hear a lot of that same sound in recordings by Joe Cuba. (One of my faves!) I guess one of the most simplistic ways to describe it is salsa (NY-style) crossed with soul. It was - AFAIK (which isn't very much!) - pretty influential... Eddie was an innovator for sure.

I'm kind of a fan of Charlie Palmieri - Eddie's pianist brother; more so than Eddie per se. (Except for his very early stuff.)

Which is probably why I didn't get this one, though I should have! I have to smile at my having called the tpt solo as either Ray Vega or Charlie Sepulveda, because *all* the younger guys have been heavily influenced by Chocolate Armenteros' playing.

You know who could explain what I'm attempting to say far better than I can? tpt1, over on the AAJ board. He's been gigging with NY salsa bands for many years now; also playing Latin jazz when he gets the chance.

Edited to add - classic early Eddie - La Perfecta -

You might be able to get this one at www.descarga.com

Edited September 4, 2010 by seeline

[seeline]

Here's a 1974 vid of Ray and his band, performing "Ban Ban Quere." The user has it tagged as "salsa dura" (hard salsa), which seems about right to me... Vocals: Ruben Blades.

Here's Joe Cuba's "Bang Bang" (1967) -

Edited September 4, 2010 by seeline

[seeline]

Eddie and Charlie Palmieri, playing a rumba, from 1981 - the song is Oye Lo Te Conviene. Vocalist is Ismael Quintana.

Eddie Palmieri, some Latin soul - "Idle Hands," from his album Harlem River Drive (1970). Charlie is playing organ on this album -

http://www.youtube.com/watch?v=akhVgotIlhk

Edited September 4, 2010 by seeline

[Hot Ptah]

Thanks for those links!

[seeline]

De nada - I hope I haven't hijacked the thread! (Also that the videos were helpful... I'm really not the best person to try and explain what was going on in the NYC salsa and Latin jazz scenes at that time.)

Edited September 4, 2010 by seeline

[Big Al]

Have only just kinda skimmed over everything (the usual procedure, which is to skim thru to see if there's anything on the BFT which I own, and which I can run here and act all knowledgeable and say something like, "Well, of COURSE this is the (jazz group) with their version of (jazz song), and if nobody else gets this, then what is this world coming to?"). Without having looked at anyone else's guesses, I can say with great assurance that of COURSE track 6 is the Benny Goodman Orchestra doing "Roll 'Em" from that wonderful compilation On the Air that Columbia put out a long time ago that, AFAIC and IMOSHO, completely annihilates the Carnegie Hall concert, and if nobody else has gotten this, then what has this world come to?

More listening later, more comments probably MUCH later, but I sure like what I've heard so far!

[JSngry]

A totally restful day has led to an insominatic night, so, the usual thoughts & disclaimers firmly in place, away we go.

TRACK ONE - No idea. Tenor player sounds like a player with a distinct voice who is "role-playing" here just a little...but doing it quite well. Don't know if I'd buy this one, but it it was in radio rotation, I know I'd not touch the dial when it cam one.

TRACK TWO - Well, we sure got some tuba here! Almost sounds like a later Gil Evans band, that ragged-but-in-a-together type way, might be, but the chart doesn't sound familiar, and Gil's bands didn't usually jump right into it right away like this one does. Performance is very enthusiastic, which might be equated with urgency in some eyes, if not mine...not totally sold on this one as a long-term investment, but it sounds sincere no matter what. I just think everybody sounds a little hyped-up, and they're not giving me any reason why they should be.

TRACK THREE - Geez, that soprano tone is familiar...intonation is sharp-but-on-purpose (aka, playing on top of the pitch), fluency is quite evident...nice to hear everybody being conscious of space and melodic movement, not just flashing licks and concepts and thinking that it's automatically music...I like how the drummer almost gets too busy, but never really does... I think this might have been recorded at a time when players were still getting used to recording wearing headphones and being behind behind baffles and inside isolation booths and such...a couple of times there starts to be this disconnect in the interior time, but it never really happens, to everybody's credit. And is that Ron Carter on bass, or just somebody recorded like him. I suspect the latter, but one never knows...

TRACK FOUR - WHOA! WTF happened? Drummer starts off at one tempo, band comes in with a resounding NO!!!! Supposed to sound like a Basie band, maybe a mid-late 40s version, but I ain't buying it, not after that intro...definitely a swing-bop intermingling thing going on though, which might account for the different time feels being brought into play...tenor could be an early Wardell, or...Lady Q? Historically interesting, whoever it is.

TRACK FIVE - Almost gotta be John Kirby's group. Yeah, that's them, I recognize (I hope!) Procope on alto. You can criticize that for not having much/any improvisation and being "parlor music" of sorts, and ok, but...show me where that parlor is. I'd like to pay it a visit, probably a more-than-casual one.

TRACK SIX - Harry James? There's absolutely no reason why this shouldn't be a total piece of corn. That it isn't speaks volumes to the old adage about ain't what you play, etc... Oh hell, wait, that sounds like Toots Mondello on lead alto, and that's BG on clarinet...Carnegie Hall concert? I've only heard the LP with the side-long jam w/Prez and this ain't on it...but, ok, I still think that's Harry James on trumpet, at least playing lead...yeah, this is good, especially how you can hear the audience and the band feeding off of each other. And so...that would be Jess Stacy? I had an uncle (Uncle Doyle, he was) who idolized Jess Stacy...cat was a banker, never played a note in his life, had a lot of, uh, "unkind" opinions about a lot of things and peoples, but he would probably have died to hear some Jess Stacy. As it is, he died of old age and kidney failure, and was in a coma the last moth or so of his life, but if he was hearing anything while he was in it, it was Jess Stacy. All things considered, not a bad thing to be hearing.

TRACK SEVEN - Wellsir, that's a lot of piano.

TRACK EIGHT - "Tin Tine Deo", geez, that's a beautiful tune that never really got covered wnough to make it the satandard I wish it was. I like the harmonic choices of the pianist here, very knowledgeable, and made from the inside out. Soloing, eh...maybe not so much...ok, but seems a little casusal, a lot of vocabulary without as much dialect as I prefer. Nut whoever it is gets kudos from me for voicings and overall harmonic awareness as it pertains to thematic statement.

TRACK NINE - "Eronel". Not sure why, but this one isn't sitting just right with me. Then again, covering Monk, especially w/solo piano, is tricky. Too much deviation, too much copying, which way to go? I mean, ok, I hear the little deviations here, and thay're all legit enough, I suppose, but in the end, when I ask "why?", I'd like to get an answer. Not sure I'm getting one here, or at least one I can feel ok with. Then again, it ain't my record, so who says I have to?

TRACK TEN - Sounds like The Ethnic Heritage Ensemble w/a bassist instead of Kahil. Ok, two basses. See, I don't even have to ask "why?" don't have to. That's my preference. Very nice tenor playing too...Ed Wilkerson? David Boykin? Somebody Chicago? Best (i.e. - my favorite) cut so far, damn near perfect. Excellent!

TRACK ELEVEN - "Prelude To A Kiss". Wow, this is quite nice...again, I don't have to ask "why?" Damn that's good...masterful, both players. Don't know what they do on anything else, but on this one, they've resented truth and beauty. Kinda hard not to go for that.

TRACK TWELVE - "Peace". Beautiful phrasing...again, there is playing on top of the pitch (NOT "sharp"!!!!). A little casual after the melody statement, though, turns into just another solo after really setting up a zone in the melody statement, not sure I get that. There's hints of that quirly vibrato thing that David Murray has, as well as an oh-so-subtle betrayal of finger insecurity......ah yes, a young, not fully formed Chico Freeman, from Spirit Sensitive. Chico...could have benefited from the old-school apprentice system, except that it didn't hardly exist any more when he came to NYC. Can't blame him, and he has matured.

TRACK THIRTEEN - Tempo! People talk about groove, and yeah, that's right, but...tempo, baby, that too. PLEASE! And this is a tempo! Sounds like "real" "Latin" players too, not "latin-jazz"...heard a little thing that betrayed Eddie Palmieri there...yeah, gotta be. I don't know this one...you hear that trumpet reference the opening like of "Tin Tin Deo"? That might have been entirely accidental, but still...My real interest in Palmieri is as arranger and conceptualist, but there are some pretty damn amazing piano solos of his too...don't know that this is one of them, but it doesn't matter - they got the tempo!

TRACK FOURTEEN - "Stolen Moments", with the right interior voicings! Not sure I dig the drumming...yeah, it's ok, just not recorded the way I'd prefer...really would have like to have heard the entire thing, there's little things (like glockenspiel?!?!?!) that are indicative of a fresh outlook, and that trumpet solo is just...DANDY!

TRACK FIFTEEN - No idea, but I like the spirit. Is that Glenn Ferris on trombone? I believe it is. But damn if that organ doesn't put me in mind of Carla Bley...no matter. I dug it.

TRACK SIXTEEN - The tempo fluctuations are a put-on, right? Why?

Ok, nice comp, not too much of it that I knew. but a lot of it that I enjoyed, and two (possibly three, I'd like to have heard the full "Stolen Moments") total gems. Thanks!

[JSngry]

Post-answer comments after having looked at the thread:

I'd go with Red Tyler over Lee Allen

Too bad about the Ra, I don't hear the discipline...but if he was sick and stuff, maybe that explains a lot of things...

I though they were saying "Ravioli", not "Johnny Otis"...but the tempo thing on the intro, that should have stopped the take right there.

I love Ran Blake, but not this cut. Then again, I never babysat Boo-Boo, so wtf do I know? Besides, The Short Life Of Barbara Monk is an unsung masterpiece. imo.

Okay, Newton, figures. The guy is one of the best flutists on earth, period. A total master of the instrument in every sense.

Zappa, eh? Interesting.

The Carla cut is from Dinner Music. DOH!

[Jim R]

I though they were saying "Ravioli", not "Johnny Otis"...but the tempo thing on the intro, that should have stopped the take right there.

Glad it wasn't just me. I almost wonder if it was a tongue-in-cheek thing... a little joke... maybe an inside joke... but as you said, to me, all these years later and miles away, it was just a WTF? moment.

Am I nutty (no pun intended) to admit that before I discovered that track 9 was "Eronel", I entertained the idea that it might have been somebody doing a Monkish treatment of a Tadd Dameron tune? Feel free to not answer that. Anyway, it's always interesting to see how these BFT's can play with your mind.

[Hot Ptah]

Have only just kinda skimmed over everything (the usual procedure, which is to skim thru to see if there's anything on the BFT which I own, and which I can run here and act all knowledgeable and say something like, "Well, of COURSE this is the (jazz group) with their version of (jazz song), and if nobody else gets this, then what is this world coming to?"). Without having looked at anyone else's guesses, I can say with great assurance that of COURSE track 6 is the Benny Goodman Orchestra doing "Roll 'Em" from that wonderful compilation On the Air that Columbia put out a long time ago that, AFAIC and IMOSHO, completely annihilates the Carnegie Hall concert, and if nobody else has gotten this, then what has this world come to?

More listening later, more comments probably MUCH later, but I sure like what I've heard so far!

It is from "On the Air 1937-38", in the Columbia Jazz Masterpieces CD series.

Edited September 5, 2010 by Hot Ptah

[Hot Ptah]

Post-answer comments after having looked at the thread:

I'd go with Red Tyler over Lee Allen

Too bad about the Ra, I don't hear the discipline...but if he was sick and stuff, maybe that explains a lot of things...

I though they were saying "Ravioli", not "Johnny Otis"...but the tempo thing on the intro, that should have stopped the take right there.

I love Ran Blake, but not this cut. Then again, I never babysat Boo-Boo, so wtf do I know? Besides, The Short Life Of Barbara Monk is an unsung masterpiece. imo.

Okay, Newton, figures. The guy is one of the best flutists on earth, period. A total master of the instrument in every sense.

Zappa, eh? Interesting.

The Carla cut is from Dinner Music. DOH!

The Carla Bley cut is from "Dinner Music". I thought that many people had that album, that it was a very common album to own, and that it would be immediately identified. I have always loved this photo on the back cover of the album:

I too did not think that they were saying "Johnny Otis" at the end of that cut. I thought it was "oh de own ee", like a bebop nonsense thing. Only after the download link was posted did I hear "Johnny" for the first time and thought ooops, that one will be too easy.

I agree with you about Newton. I wish he was putting out a new jazz album every year now, like he did in the 1980s. I miss his regular contributions.

Edited September 5, 2010 by Hot Ptah