BFT 94 Discussion

[jeffcrom]

#10: Marty Paich? Bill Russo? (in London?) How about Bill Mathieu?

No, no, and no. Time for some hints on this one, but I don't know if they'll help. Max Harrison has praised this writer on a couple of occasions. His output is small - this record on Pacific Jazz might be his only album as leader. He was probably better known for his work as an educator; among other things he wrote a book on arranging for jazz orchestra.

As was the case with the Panorama Jazz Band, this artist wasn't chosen for this BFT in order to stump folks by picking someone hopelessly obscure. I picked this track because I think that this album is a minor masterpiece, and nobody seems to know it. Hopefully, at least a few people might check out the Panorama and this guy's Pacific Jazz album after this BFT.

[Hardbopjazz]

#10: Marty Paich? Bill Russo? (in London?) How about Bill Mathieu?

As was the case with the Panorama Jazz Band, this artist wasn't chosen for this BFT in order to stump folks by picking someone hopelessly obscure. I picked this track because I think that this album is a minor masterpiece, and nobody seems to know it. Hopefully, at least a few people might check out the Panorama and this guy's Pacific Jazz album after this BFT.

I do plan on buying Panorama Jazz Band's CD(s). I really liked what I heard from their website.

Edited January 26, 2012 by Hardbopjazz

[jeffcrom]

#10: Marty Paich? Bill Russo? (in London?) How about Bill Mathieu?

As was the case with the Panorama Jazz Band, this artist wasn't chosen for this BFT in order to stump folks by picking someone hopelessly obscure. I picked this track because I think that this album is a minor masterpiece, and nobody seems to know it. Hopefully, at least a few people might check out the Panorama and this guy's Pacific Jazz album after this BFT.

I do plan on buying Panorama Jazz Band's CD(s). I really liked what I heard from their website.

I think that the most recent one, Come Out Swinging, is their best. Ben has continually grown as a player since their first album, and Come Out Swinging was recorded after Aurora joined the band - she's not on their first two.

[Michael Weiss]

Okay, I think I've got it. DICK GROVE: LITTLE BIRD SUITE (Pacific Jazz 74), "Mosca Espanola"?? Impossible to find the complete personnel online.

Edited January 26, 2012 by Michael Weiss

[jeffcrom]

Okay, I think I've got it. DICK GROVE: LITTLE BIRD SUITE (Pacific Jazz 74), "Mosca Espanola"?? Impossible to find the complete personnel online.

Give the piano man a cigar - that's the artist, album, and track. I'll reveal the complete personnel on Monday, but I'll go ahead and name the soloists, since they're not exactly big names: Dick Hurwitz on trumpet and Bill Robinson on baritone. There are a few relatively well-known names in the band.

More about this fine album on Monday.

[Michael Weiss]

Will gladly trade in the cigar for this LP!

[NIS]

If it is hint time, how about track #5? Reading back through the comments, I think it might just be you and me on this one.

[jeffcrom]

If it is hint time, how about track #5? Reading back through the comments, I think it might just be you and me on this one.

It's a buncha girls!

[The Magnificent Goldberg]

If it is hint time, how about track #5? Reading back through the comments, I think it might just be you and me on this one.

It's a buncha girls!

Amy Benson & her Burners?

(forties UK band)

MG

[NIS]

If it is hint time, how about track #5? Reading back through the comments, I think it might just be you and me on this one.

It's a buncha girls!

So, you could have given a bunch more hints, including the names of the band members, and I wouldn't have guessed who this was. However, through the magic of google I found them. I've apparently had some free time on my hands today and just wanted to know.

Have you seen these folks in person? I bet it is a really fun show.

[jeffcrom]

If it is hint time, how about track #5? Reading back through the comments, I think it might just be you and me on this one.

It's a buncha girls!

So, you could have given a bunch more hints, including the names of the band members, and I wouldn't have guessed who this was. However, through the magic of google I found them. I've apparently had some free time on my hands today and just wanted to know.

Have you seen these folks in person? I bet it is a really fun show.

No, I haven't heard them in person, but I have several of their albums and like them a lot. Feel free to go ahead and spill the beans if you want to.

Amy Benson & her Burners?

(forties UK band)

MG

For some reason, Amy and the Burners didn't make too much of an impact on this side of the pond.

[JSngry]

Better get in here while there's still getting to get...and with all thanks and disclaimers in place, at that.

TRACK ONE - "Dig".My only guess, a weak one at that, is some later Sal Nistico date, and I'm basing that strictly on tone, especially on the higher notes. Nice and wobbly-together the whole tenor's thing is, although the drummer behind the piano solo bugs me on occasion. Overall, though, yeah!

TRACK TWO - "Ain't Misbehaving" off a 78. Tenor vibrato makes me think of Bud Freeman, He's got great control of his open side-key notes too, Big props for that. Hearing some I-biii (instead of vi or VI) chordal motion going on, so we're definitely getting into some "modern", if only incipiently. thing here. A very nice cut.

TRACK THREE - The Instantly Recognizable and Perpetually Great Steve Lacy, although on what ct, I do not know. I don't even try to "collect" all Lacy's work, I just try to hear it whenever it's there to be heard, because I know it will be time well-spent and music well-played. Case in pojnt...this one. The guy's command of music kills me, his time, his tone, his inflection, his always knowing where everything is both within himself and around him, they guy was just about everything you could want for a musician to be. If Steve Lacy played it, it was automatically music worth hearing. Period.

TRACK FOUR - Is this that Bulgarian wedding band? Or some Klezmer deal? For where I'm at right now personally, it might be more fun to play than to listen to, although it might not be that much fun to play either, unless you were there, and...I'm not. I did, however, stay up until sunrise in the hotel room of a true Hungarian Gypsy Elvis impersonator with whose band I took a weekend road gig in Farmington, NM, listening to him and his two brothers sing and play Gypsy songs all night. Not that that has anything to do with this cut, but it is something I was actually at.

TRACK FIVE - Geez, I think I've heard this a few times over the years, but damn if I can tell you what or when. I love that fatass section sound, hell yeahs I do. This is music for the discerning dancefloor afaic, not for the whole night, but just to break it up and keep it going with something different yet still making dat ass and those other particle in motion move.That's a good compliment, trust me. I wish more people would play like they were playing for dancers. Dancers can go surprise-crazy on your ass, so don't be afraid. Hell, I can see this being used to chop into a whole 'nother thang. Right Onward!

TRACK SIX - Speaking of dance music...I'm in, down, and on. And it's drummer's doing, that wiggle-waggling rapscallion, making that worm do the crawl up in them danceparts. I'd pay for that if the trumpet player came along.

TRACK SEVEN - Oh, it's modern! You've Changed! Into a French Horn? Mitchell-Ruff? The horn & piano sound like they got some meaningful rapport on some things that could easily be simply clever and/or corny.. A very nice reading of the melody, actually. Very nice.

TRACK EIGHT - The slapback on some records is really quite startling. Raymond Scott? Interesting piece, quite, novelty, but a serious one.

TRACK NINE - "At The Jazz Ban Ball". The version to live by is the one on impulse! by a George Wein group that's got Ruby Braff, Bud Freeman, Pee Wee Russell, and Marquis Foster. That shit is just SWANGING till the jazz band stops balling, which, you being a musician yourself, know that it never does. But this one is fun too, so keep on with that.

TRACK TEN - Tasty oatmeal clusters right smack dab in the middle of you chords, boys and girls, that's how you start the day off right, ask for them by name. I'd like to hear this in a fuller context, see what else is going on. For I hear skill, and I hear purpose, but I do not hear declaration...so I am assuming that the purpose is moving, moving along from one place to another, and this is the ride we co on while doing that.Nice ride, got that Gil vibe in there (gotta love those little clusters, oatmeal or otherwise). Is Art Farmer involved in this?

TRACK ELEVEN - sounds like a finicky fish coming to the surface to grab some food, and then decide to refuse it, although not without much deliberation and commenating on the way down. Fish say the DARNDEST things, especially finicky ones who can't find a good bite anywhere.Tonight the fish was very hungry but ate not, so the protestations are even more fishtastecle than usual. It's a treat, that's what it is!

TRACK TWELVE - Do I smell New Orleans? Do I smell OF New Orleans? I hear stories being told here on several levels, one is kinda "tourist", at leaat the story is, but the way the language is being used in the story is a story unto itself. Its learning a song's words but not its voices. That's why I like songs sung in languages I don't understand - fuck the words and learn the voices. The history is in the words, but the spirits is in the voices, so if you can get to the spirits, you'll not ever really need to know the words, unless a history test comes around, and then if it does, answer the questions based on what the spirits are rather than what the history voices say it is. Because voices lie. And spirits just are.

TRACK THIRTEEN - Come back, pre-Wynton jazz, COME BACK! Especially you tenor players who conjure the majesterys of Billy Harper.

TRACK FOURTEEN - What a stirring piece of provacatory...gotta be Ellington of some degree of separation (or perhaps none?!?!?!), and for that, the buttons will always shine brightly with no need for external polishing.

TRACK FIFTEEN - Organ! Altos! Good-Playing Altos! Good playing Organs! Well-recorded Drummering! Nothing bad or silly anywhere near the area!!! How many !!!!!!!!!!! are enough? This many!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ?

There's more where those came from! (see?)

TRACK SIXTEEN - BOOOOOOOOOOOOOOOOOOOOMMMMMMM go the big bass drum. "It ain't my fault", but it is my way to survive the bullshit and get over (it) anyway. Never trust a tourist to pay your rent.

Much appreaciationals and bonhomies spread your way on this one brer, much indeeds!

[jeffcrom]

Better get in here while there's still getting to get...and with all thanks and disclaimers in place, at that.

Trust JSngry to provide the most personal and impressionistic response to this BFT yet. I'll respond to your responses when I'm able; some leave me with nothing to say.

TRACK ONE - "Dig".My only guess, a weak one at that, is some later Sal Nistico date, and I'm basing that strictly on tone, especially on the higher notes. Nice and wobbly-together the whole tenor's thing is, although the drummer behind the piano solo bugs me on occasion. Overall, though, yeah!

Another vote for "Dig" rather than "Donna." Not Nistico, although that's not a bad guess, stylistically. Way off, geographically.

TRACK TWO - "Ain't Misbehaving" off a 78. Tenor vibrato makes me think of Bud Freeman, He's got great control of his open side-key notes too, Big props for that. Hearing some I-biii (instead of vi or VI) chordal motion going on, so we're definitely getting into some "modern", if only incipiently. thing here. A very nice cut.

You're closer than anyone else on the tenor player, in a way. This guy has been "accused" of being Freeman-influenced, although I don't think he really was. The harmonic stuff you hear was due to the guitarist's influence, I would guess.

TRACK THREE - The Instantly Recognizable and Perpetually Great Steve Lacy, although on what ct, I do not know. I don't even try to "collect" all Lacy's work, I just try to hear it whenever it's there to be heard, because I know it will be time well-spent and music well-played. Case in pojnt...this one. The guy's command of music kills me, his time, his tone, his inflection, his always knowing where everything is both within himself and around him, they guy was just about everything you could want for a musician to be. If Steve Lacy played it, it was automatically music worth hearing. Period.

STEVE LACY, STEVE LACY, STEVE LACY!

TRACK FOUR - Is this that Bulgarian wedding band? Or some Klezmer deal? For where I'm at right now personally, it might be more fun to play than to listen to, although it might not be that much fun to play either, unless you were there, and...I'm not. I did, however, stay up until sunrise in the hotel room of a true Hungarian Gypsy Elvis impersonator with whose band I took a weekend road gig in Farmington, NM, listening to him and his two brothers sing and play Gypsy songs all night. Not that that has anything to do with this cut, but it is something I was actually at.

Since this has been identified as the Panorama Jazz Band from New Orleans, I'll say that the crowd of music lovers, tourists, local characters, and barflies at the Panorama's regular Saturday night gig at the Spotted Cat digs the klezmer and Balkan stuff as much as Da Jazz. It's funny how you have to spend time with an unfamiliar style of music before you really start "hearing" it. When I joined the 4th Ward Afro Klezmer Orchestra a few years ago, I knew nothing about klezmer; the bandleader gave me a CDr of Naftule Brandwein tracks, and it all sounded alike to me. Now it doesn't. And that digression may not be relevant here.

TRACK FIVE - Geez, I think I've heard this a few times over the years, but damn if I can tell you what or when. I love that fatass section sound, hell yeahs I do. This is music for the discerning dancefloor afaic, not for the whole night, but just to break it up and keep it going with something different yet still making dat ass and those other particle in motion move.That's a good compliment, trust me. I wish more people would play like they were playing for dancers. Dancers can go surprise-crazy on your ass, so don't be afraid. Hell, I can see this being used to chop into a whole 'nother thang. Right Onward!

TRACK SIX - Speaking of dance music...I'm in, down, and on. And it's drummer's doing, that wiggle-waggling rapscallion, making that worm do the crawl up in them danceparts. I'd pay for that if the trumpet player came along.

TRACK SEVEN - Oh, it's modern! You've Changed! Into a French Horn? Mitchell-Ruff? The horn & piano sound like they got some meaningful rapport on some things that could easily be simply clever and/or corny.. A very nice reading of the melody, actually. Very nice.

Not a French horn - ID'ed as J. J. Johnson.

TRACK EIGHT - The slapback on some records is really quite startling. Raymond Scott? Interesting piece, quite, novelty, but a serious one.

I'm glad you recognized the serious nature of this fun.

TRACK NINE - "At The Jazz Ban Ball". The version to live by is the one on impulse! by a George Wein group that's got Ruby Braff, Bud Freeman, Pee Wee Russell, and Marquis Foster. That shit is just SWANGING till the jazz band stops balling, which, you being a musician yourself, know that it never does. But this one is fun too, so keep on with that.

Off on the title, but otherwise enjoyed your response.

TRACK TEN - Tasty oatmeal clusters right smack dab in the middle of you chords, boys and girls, that's how you start the day off right, ask for them by name. I'd like to hear this in a fuller context, see what else is going on. For I hear skill, and I hear purpose, but I do not hear declaration...so I am assuming that the purpose is moving, moving along from one place to another, and this is the ride we co on while doing that.Nice ride, got that Gil vibe in there (gotta love those little clusters, oatmeal or otherwise). Is Art Farmer involved in this?

No Art Farmer, as you know by now if you've read the rest of the thread. Interesting comments, considering that this is one movement of a suite.

TRACK ELEVEN - sounds like a finicky fish coming to the surface to grab some food, and then decide to refuse it, although not without much deliberation and commenating on the way down. Fish say the DARNDEST things, especially finicky ones who can't find a good bite anywhere.Tonight the fish was very hungry but ate not, so the protestations are even more fishtastecle than usual. It's a treat, that's what it is!

TRACK TWELVE - Do I smell New Orleans? Do I smell OF New Orleans? I hear stories being told here on several levels, one is kinda "tourist", at leaat the story is, but the way the language is being used in the story is a story unto itself. Its learning a song's words but not its voices. That's why I like songs sung in languages I don't understand - fuck the words and learn the voices. The history is in the words, but the spirits is in the voices, so if you can get to the spirits, you'll not ever really need to know the words, unless a history test comes around, and then if it does, answer the questions based on what the spirits are rather than what the history voices say it is. Because voices lie. And spirits just are.

There's a lot here, so I'll just say - yes, New Orleans.

TRACK THIRTEEN - Come back, pre-Wynton jazz, COME BACK! Especially you tenor players who conjure the majesterys of Billy Harper.

TRACK FOURTEEN - What a stirring piece of provacatory...gotta be Ellington of some degree of separation (or perhaps none?!?!?!), and for that, the buttons will always shine brightly with no need for external polishing.

Not Ellington, but some kinship there. See above or wait until Monday for more info.

TRACK FIFTEEN - Organ! Altos! Good-Playing Altos! Good playing Organs! Well-recorded Drummering! Nothing bad or silly anywhere near the area!!! How many !!!!!!!!!!! are enough? This many!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ?

There's more where those came from! (see?)

TRACK SIXTEEN - BOOOOOOOOOOOOOOOOOOOOMMMMMMM go the big bass drum. "It ain't my fault", but it is my way to survive the bullshit and get over (it) anyway. Never trust a tourist to pay your rent.

Much appreaciationals and bonhomies spread your way on this one brer, much indeeds!

Thanks for playing and entertaining.

[mikeweil]

Thanks for that interesting compilation - as I mentioned early on, I didn't recognize a single track or player. Listened through the whole things three times ...

What I liked best was the 4th or so track with the soprano sax lead - a tone reminding me strongly of Steve Lacy, and the trombone ballad, which was rendered with a lot of feeling - I am most curious about whoe these players are.