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jeffcrom

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Happy new year! Great stuff, Jeff. I only had a quick listen so far (and I admit I skipped some tracks where the beginning didn't sound like my kind of thing *blush*). Here are some first thoughts:

2) "Ain't Misbehavin'". Tenor (leader, I guess), guitar, piano trio. The tenor is silky smooth. The guitar solo leaves me cold--too much space. I would have liked a little more filler there. Not bad, but doesn't grab me. There are one or two moments (e.g., at 1:58) where I'm not sure whether the pianist is being rhythmically inventive on purpose or whether he had cold fingers. :o) I like the piano, though. It's hard to tell from this needle-drop, but I would guess this is from the early 40's.

3) Sounds like some careless soul left his tenor lying around and Chet Baker stumbled upon it.

4) Cool. I know nothing about this kind of music, so all I got is "sounds like it's from a quadrangle bounded by Morocco, Yemen, Iran, and Turkey". I can pretend I hear middle eastern and slavic influences, and that then narrows it down to Turkey or Israel, but what do I know? It sounds fun. Is that a clarinet being maltreated or some other reed? A zurna, maybe? I know those things exist, but I don't actually know what they sound like. And, a tuba and some sort of accordion? Anyway: fun.

5) Train chords. I always feel like looking left and right and possibly running when I hear stuff like this.

6) Big Bill! "You Do Me Any Old Way". Is this off the JSP? Or the Document series? I have been meaning to pick up a complete collection, just have him on some compilation discs now, so if you have any advice one way or the other... What a rockin' trumpet. And that rhythm chugging along...wonderful.

8) Some 50's Big Band getting into bop. I don't think the bagpipe-inspired drone underneath is really adding to the ambiance in positive ways. The guitarist I don't mind. Has listened to Charlie (who hasn't?). The rest of the band, or at least the arranger, I'd happily shoot.

9) "That's a-Plenty". I don't know who this is, and will likely kick myself when I find out. Will listen to it more later. Love the bass. Yeah! Is that a violin I hear in the ensemble? The little bass & trombone breaks make me happy. (Though they are a *little* repetitive. Live it wouldn't be a problem, but in a recording it's going to wear thin.) I like that sax at 1:27. Tenor? And the muted (plunger?) trumpet is nice. The clarinet is O.K., but not my favourite. Hmm, an accordion again. All in all, this is excellent. I would guess late 20's based on the possible violin, and the clarinet solo. The trumpet solo sounds like it's early 30's, but maybe the guy was ahead of his time. The bass is playing four beat so it can't be too early. I'll stick my neck out and say 1929.

11) Someone dropped an alto clarinet or something of that ilk down a hole filled with cymbals. Nice low register, though.

13) I once had a Casio keyboard with a drum mode. It sounded like this when my two cousins and I would all play it at once.

14) Ah...I happen to have listened to this not too long ago. It's "Donegal Cradle Song" from 1933 by Spike Hughes and His Negro Orchestra. There are some HUGE names in that band...just an astounding collection of talent. This is very pretty, but I can't comment on it without bias, knowing what I know about the band.

16) To my not inconsiderable surprise I did not hate this! Am curious to find out who this is. Sounds like maybe something from one of those Katrina benefit CD's that came out a few years ago.

Enjoyed this!

Edited by alex.
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General comments: Although only Tracks 1, 7, 10 and 15 are the sort of music likely to be heard around my house, just about everything here is listenable, with the possible exception of Track 4. Will work through the tracks in a series of posts.

Track 1: This is a quartet of tenor, piano, bass and drums playing Miles Davis's "Dig", based on the changes of "Sweet Georgia Brown". Very boppish and just my sort of thing. Something about the tenor reminded me of Johnny Griffin, though it's clearly not him, so I got thinking Chicago school. Von Freeman, perhaps?

Edited by BillF
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Happy new year! Great stuff, Jeff. I only had a quick listen so far (and I admit I skipped some tracks where the beginning didn't sound like my kind of thing *blush*). Here are some first thoughts:

2) "Ain't Misbehavin'". Tenor (leader, I guess), guitar, piano trio. The tenor is silky smooth. The guitar solo leaves me cold--too much space. I would have liked a little more filler there. Not bad, but doesn't grab me. There are one or two moments (e.g., at 1:58) where I'm not sure whether the pianist is being rhythmically inventive on purpose or whether he had cold fingers. :o) I like the piano, though. It's hard to tell from this needle-drop, but I would guess this is from the early 40's.

You got the decade right, but it's from the other end - although there's nothing about the recording that would indicate that. I like the guitarist a lot - he's the main reason I included this one.

3) Sounds like some careless soul left his tenor lying around and Chet Baker stumbled upon it.

Alex, Alex, Alex....

4) Cool. I know nothing about this kind of music, so all I got is "sounds like it's from a quadrangle bounded by Morocco, Yemen, Iran, and Turkey". I can pretend I hear middle eastern and slavic influences, and that then narrows it down to Turkey or Israel, but what do I know? It sounds fun. Is that a clarinet being maltreated or some other reed? A zurna, maybe? I know those things exist, but I don't actually know what they sound like. And, a tuba and some sort of accordion? Anyway: fun.

It's a clarinet. The tune does come from somewhere in that large quadrangle, although the band does not.

5) Train chords. I always feel like looking left and right and possibly running when I hear stuff like this.

I thought this one might make you run.

6) Big Bill! "You Do Me Any Old Way". Is this off the JSP? Or the Document series? I have been meaning to pick up a complete collection, just have him on some compilation discs now, so if you have any advice one way or the other... What a rockin' trumpet. And that rhythm chugging along...wonderful.

Bingo! It's Big Bill Broonzy. The trumpet player is a favorite of mine. More info on the CD later.

8) Some 50's Big Band getting into bop. I don't think the bagpipe-inspired drone underneath is really adding to the ambiance in positive ways. The guitarist I don't mind. Has listened to Charlie (who hasn't?). The rest of the band, or at least the arranger, I'd happily shoot.

I love the composition/arrangement, but didn't expect you to dig it much. Hope some folks here do.

9) "That's a-Plenty". I don't know who this is, and will likely kick myself when I find out. Will listen to it more later. Love the bass. Yeah! Is that a violin I hear in the ensemble? The little bass & trombone breaks make me happy. (Though they are a *little* repetitive. Live it wouldn't be a problem, but in a recording it's going to wear thin.) I like that sax at 1:27. Tenor? And the muted (plunger?) trumpet is nice. The clarinet is O.K., but not my favourite. Hmm, an accordion again. All in all, this is excellent. I would guess late 20's based on the possible violin, and the clarinet solo. The trumpet solo sounds like it's early 30's, but maybe the guy was ahead of his time. The bass is playing four beat so it can't be too early. I'll stick my neck out and say 1929.

1929 it is. I don't think you'll kick yourself, except maybe over the trumpet player. He's the high point in this recording, to my ears.

11) Someone dropped an alto clarinet or something of that ilk down a hole filled with cymbals. Nice low register, though.

That's a great line!

13) I once had a Casio keyboard with a drum mode. It sounded like this when my two cousins and I would all play it at once.

14) Ah...I happen to have listened to this not too long ago. It's "Donegal Cradle Song" from 1933 by Spike Hughes and His Negro Orchestra. There are some HUGE names in that band...just an astounding collection of talent. This is very pretty, but I can't comment on it without bias, knowing what I know about the band.

That's it! The best of Spike Hughes' 1933 American recordings are brilliant, under-appreciated masterpieces. I'd welcome more comments from you or anyone else.

16) To my not inconsiderable surprise I did not hate this! Am curious to find out who this is. Sounds like maybe something from one of those Katrina benefit CD's that came out a few years ago.

It is a benefit recording, but not for Katrina - listen to the words again.

Enjoyed this!

I'm glad, although I knew you wouldn't like everything. If you didn't listen to much of track 12, you might want to give it another chance. I think you might like it once you got further into it.

Thanks for your comments!

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General comments: Although only Tracks 1 and 15 are the sort of music likely to be heard around my house, just about everything here is listenable, with the possible exception of Track 4. Will work through the tracks in a series of posts.

Track 1: This is a quartet of tenor, piano, bass and drums playing Miles Davis's "Dig", based on the changes of "Sweet Georgia Brown". Very boppish and just my sort of thing. Something about the tenor reminded me of Johnny Griffin, though it's clearly not him, so I got thinking Chicago school. Von Freeman, perhaps?

Yes and no, about the tune. Miles apparently "borrowed" the tune that Jackie McLean called "Donna" - our tenor player on track 1 calls it "Donna" on his album and credits it to McLean.

Later: I just checked the album, and Miles gets the composer credit, although it is called "Donna."

If I was hearing this for the first time, I think I would have guessed that the tenorist was from Chicago, too, but he's not. His home is quite a distance from the Windy City.

Edited by jeffcrom
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16) To my not inconsiderable surprise I did not hate this! Am curious to find out who this is. Sounds like maybe something from one of those Katrina benefit CD's that came out a few years ago.

It is a benefit recording, but not for Katrina - listen to the words again.

Ah! It's about the BP gulf spill. Still like it. Still no idea who it is, though there's clear New Orleans-inspired musicianship.

I'm glad, although I knew you wouldn't like everything. If you didn't listen to much of track 12, you might want to give it another chance. I think you might like it once you got further into it.

O.K., I trusted you and gave it another go. :) It does indeed clean up nicely around 55 seconds. The clarinet solo is quite nice, though I don't like the tone outside the chalumeau register at all. And the piano is too modern for me. :)

So...the Spike Hughes track. It has my favourite non-Armstrong trumpet player, one of my favourite tenor men (no, the other one! I know, sacrilege, but I prefer him), possibly my favourite trombonist, and my favourite drummer. This is one of those "if I could be at any recording session..." sort of sessions. I think it's simply gorgeous. Hot men playing sweet better than the sweet bands, IMO.

That's a-Plenty: I listened again, and I can't for the life of me identify anyone, even the trumpet player. He sounds a little like Muggsy, but I would hope I would recognise the track if it were him. It's not a Ted Lewis thing, so...yeah. Not sure what to think. Maybe someone else from Chicago? Very curious to find out who this is.

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Track 2

Waller/Razaf's "Ain't Misbehavin'", but I don't think it's a Waller recording as his were far more driving and energetic, quite unlike the gentle, almost sleepy, albeit warm, atmosphere of this. Tenor of the Bud Freeman sort, unamplified(?) guitar, stride-type piano which probably owes something to Teddy Wilson. Recording date? - that surface noise suggests 78 RPM, finger sounds on the guitar strings suggest something later than the Waller era.

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Track 2

Waller/Razaf's "Ain't Misbehavin'", but I don't think it's a Waller recording as his were far more driving and energetic, quite unlike the gentle, almost sleepy, albeit warm, atmosphere of this.[...]

Waller actually recorded it at a variety of tempi. Check out this 1943 recording (credited to The Beale Street Boys) with Benny Carter, Slam Stewart, and Zutty Singleton. It has exactly this sleepy feel most of the way through. It was used in "Stormy Weather" (worth watching for all the early jazz and jazz dance talent).

Bonus: that's Bojangles dancing. :)

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That's a-Plenty: I listened again, and I can't for the life of me identify anyone, even the trumpet player. He sounds a little like Muggsy, but I would hope I would recognise the track if it were him. It's not a Ted Lewis thing, so...yeah. Not sure what to think. Maybe someone else from Chicago? Very curious to find out who this is.

I've got to give this to you - it is indeed Muggsy Spanier on cornet. Not a Ted Lewis recording, as you recognized. I don't think this brief episode in Muggsy's career is well known.

Track 2

Waller/Razaf's "Ain't Misbehavin'", but I don't think it's a Waller recording as his were far more driving and energetic, quite unlike the gentle, almost sleepy, albeit warm, atmosphere of this. Tenor of the Bud Freeman sort, unamplified(?) guitar, stride-type piano which probably owes something to Teddy Wilson. Recording date? - that surface noise suggests 78 RPM, finger sounds on the guitar strings suggest something later than the Waller era.

Not a Waller recording - your instincts were right. Pretty good speculation about the recording date. I like to include something from my 78 collection on these blindfold tests, and this is it for this BFT. It's a slightly obscure recording, although I recently became aware that it has been reissued on CD.

Edited by jeffcrom
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Track 3

Johnny Mandel's "The Shadow of Your Smile" played by a duo of soprano saxophone and unamplified guitar. Shouldn't think it was recorded too many years ago. Not a hint of Coltrane, or Bechet either, in the soprano player; more like those Soprano Summit guys.

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Track 3

Johnny Mandel's "The Shadow of Your Smile" played by a duo of soprano saxophone and unamplified guitar. Shouldn't think it was recorded too many years ago. Not a hint of Coltrane, or Bechet either, in the soprano player; more like those Soprano Summit guys.

Although it does somewhat resemble Mr. Mandel's tune, it's not "The Shadow of Your Smile." And not Bob Wilber or Kenny Davern.

I'm restraining myself from saying more yet.

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Track 4

Sort of New Orleans to Cairo via Mama Too Tight. I won't be rushing to get their latest album!

This band might be surprised by the Mama Too Tight comparison, but you are otherwise on the right track. I like them a lot, but I knew that most folks wouldn't like everything on this BFT.

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Track 5

Rock-type drumming with accented offbeat, ostinato figure played by horn(s) throughout, arranged passages for other horns, no solos. Anything improvised? Pretty far from jazz as I know it. Vague resemblance to a UK group of some years ago called Loose Tubes.

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Track 5

Rock-type drumming with accented offbeat, ostinato figure played by horn(s) throughout, arranged passages for other horns, no solos. Anything improvised? Pretty far from jazz as I know it. Vague resemblance to a UK group of some years ago called Loose Tubes.

This American group features much improvisation in most of their pieces, but I was very taken with this piece - improvisation or not, jazz or not.

Track 6

12 bar blues, vocalist and trumpet featured. Nice relaxed group - I like this. Uncertain of the recording date - perhaps the 30s.

Track 6 I believe is an Elmore James piece, "Whose Muddy Shoes."

This has been identified by Alex as "You Do Me Any Old Way" by Big Bill Broonzy. It does share a verse with Elmore James' song. Any comments on the trumpet player?

Track 3 reiminds me of the Stan Getz in his final year. The same style of playing of Getz from People Time.

Not Stan Getz. I included this artist to see if I could get away with it, if that makes sense. He has a distinctive sound which I thought would be instantly recognizable to those familiar with him, but this is a very untypical recording by him.

Track 7

Muted trombone in the J J Johnson tradition playing "You've Changed" with a piano, bass, drums trio on a live date. Very nice.

I have to give you this one, Bill - it's not just someone in the J. J. Johnson tradition, it's Johnson himself. Maybe Hardbopjazz can tell us more about this track, which gets to me deeply every time I hear it.

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Track 5

Rock-type drumming with accented offbeat, ostinato figure played by horn(s) throughout, arranged passages for other horns, no solos. Anything improvised? Pretty far from jazz as I know it. Vague resemblance to a UK group of some years ago called Loose Tubes.

This American group features much improvisation in most of their pieces, but I was very taken with this piece - improvisation or not, jazz or not.

Track 6

12 bar blues, vocalist and trumpet featured. Nice relaxed group - I like this. Uncertain of the recording date - perhaps the 30s.

Track 6 I believe is an Elmore James piece, "Whose Muddy Shoes."

This has been identified by Alex as "You Do Me Any Old Way" by Big Bill Broonzy. It does share a verse with Elmore James' song. Any comments on the trumpet player?

Track 3 reiminds me of the Stan Getz in his final year. The same style of playing of Getz from People Time.

Not Stan Getz. I included this artist to see if I could get away with it, if that makes sense. He has a distinctive sound which I thought would be instantly recognizable to those familiar with him, but this is a very untypical recording by him.

Track 7

Muted trombone in the J J Johnson tradition playing "You've Changed" with a piano, bass, drums trio on a live date. Very nice.

I have to give you this one, Bill - it's not just someone in the J. J. Johnson tradition, it's Johnson himself. Maybe Hardbopjazz can tell us more about this track, which gets to me deeply every time I hear it.

I have to pull out my J. J. Johnson performances. This is from a live concert. At one point I listened to this one over and over.

Is that Renee Rosnes on piano fir track 7?

Edited by Hardbopjazz
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Track 5

Rock-type drumming with accented offbeat, ostinato figure played by horn(s) throughout, arranged passages for other horns, no solos. Anything improvised? Pretty far from jazz as I know it. Vague resemblance to a UK group of some years ago called Loose Tubes.

This American group features much improvisation in most of their pieces, but I was very taken with this piece - improvisation or not, jazz or not.

Track 6

12 bar blues, vocalist and trumpet featured. Nice relaxed group - I like this. Uncertain of the recording date - perhaps the 30s.

Track 6 I believe is an Elmore James piece, "Whose Muddy Shoes."

This has been identified by Alex as "You Do Me Any Old Way" by Big Bill Broonzy. It does share a verse with Elmore James' song. Any comments on the trumpet player?

Track 3 reiminds me of the Stan Getz in his final year. The same style of playing of Getz from People Time.

Not Stan Getz. I included this artist to see if I could get away with it, if that makes sense. He has a distinctive sound which I thought would be instantly recognizable to those familiar with him, but this is a very untypical recording by him.

Track 7

Muted trombone in the J J Johnson tradition playing "You've Changed" with a piano, bass, drums trio on a live date. Very nice.

I have to give you this one, Bill - it's not just someone in the J. J. Johnson tradition, it's Johnson himself. Maybe Hardbopjazz can tell us more about this track, which gets to me deeply every time I hear it.

Bit of research suggests it's from J J's Quintergy: Live at the Vanguard, recorded in 1988 with Stanley Cowell on piano, Rufus Reid bass and Victor Lewis drums.

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Track 9

Tune's a standard in the dixieland repertoire which for the life of me I can't put a name to! But this is a big band with arrangements, not a collective improvisation dixieland outfit. Date again about 1940. The only soloist I'd hazard a guess on is Muggsy Spanier on cornet. Love his sound!

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Track 10

1950s big band. Lots of echoes of Gil Evans here - writing not for separate brass/reed sections, characteristic flute and clarinet use , trumpet soloist sounding like Johnny Coles. If not Evans, then influence of Birth of the Cool undeniable. Baritone reminiscent of Serge Chaloff. Crackles and groove slip suggest this is from your vinyl collection, Jeff. Really like this - have amended my comment in post #3 accordingly. :)

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Track 5

Rock-type drumming with accented offbeat, ostinato figure played by horn(s) throughout, arranged passages for other horns, no solos. Anything improvised? Pretty far from jazz as I know it. Vague resemblance to a UK group of some years ago called Loose Tubes.

This American group features much improvisation in most of their pieces, but I was very taken with this piece - improvisation or not, jazz or not.

Track 6

12 bar blues, vocalist and trumpet featured. Nice relaxed group - I like this. Uncertain of the recording date - perhaps the 30s.

Track 6 I believe is an Elmore James piece, "Whose Muddy Shoes."

This has been identified by Alex as "You Do Me Any Old Way" by Big Bill Broonzy. It does share a verse with Elmore James' song. Any comments on the trumpet player?

Track 3 reiminds me of the Stan Getz in his final year. The same style of playing of Getz from People Time.

Not Stan Getz. I included this artist to see if I could get away with it, if that makes sense. He has a distinctive sound which I thought would be instantly recognizable to those familiar with him, but this is a very untypical recording by him.

Track 7

Muted trombone in the J J Johnson tradition playing "You've Changed" with a piano, bass, drums trio on a live date. Very nice.

I have to give you this one, Bill - it's not just someone in the J. J. Johnson tradition, it's Johnson himself. Maybe Hardbopjazz can tell us more about this track, which gets to me deeply every time I hear it.

Bit of research suggests it's from J J's Quintergy: Live at the Vanguard, recorded in 1988 with Stanley Cowell on piano, Rufus Reid bass and Victor Lewis drums.

I can't find that CD right now. I believe you are right Bill.

Lament

c364983m97d.jpg

Edited by Hardbopjazz
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