BFT 96 reveal

[Spontooneous]

1. Marvin "Smitty" Smith, "The Neighborhood" (Smith), from "The Road Less Traveled," Concord CCD 4379. Wallace Roney, tp; Robin Eubanks, tb; Steve Coleman, as; Ralph Moore, ts; James Williams, p; Robert Hurst, b; Smith, d. February 1989.

I started collecting jazz in the '80s, just in time to be seduced by many of these "young lions" albums as they were just being released. Some of them seem silly now, but this one holds up, and serves as a reminder of what we're missing while Smitty makes money in Jay Leno's band. I'm very fond of the head, though it loses its way for a few bars in the bridge, and Smitty shows some serious arranging chops too. And it's nice to hear Wallace Roney before he became obsessed with being Miles Dewey Davis Junior Junior.

2. Mike Wofford, "Loose Canon" (Wofford), from "Synergy," Heavywood HW7891J. Wofford, p; Rob Thorsen, b; Joe LaBarbera, d. November 1997.

It took a long time, but a couple of years ago it bit me on the butt just how good Mike Wofford really is. This album is worth hunting down to hear an established but behind-the-scenes player really stick his neck out. Yes, the piece is a canon -- piano first, then drums, then bass -- and yes, I'm a sucker for contrapuntal stuff.

3. Ollie Powers' Harmony Orchestra, "Play That Thing," Alex Calamese, Tommy Ladnier, tp; Eddie Vincent, tb; Jimmie Noone, cl; Horace Diemer, as; Glover Compton, p; John Basley, bj; William "Bass" Moore, tuba; Powers, d. Originally a 78 on the Paramount label. This transfer is from "Jimmie Noone 1923-1928", Classics 604.

One of the loosest, hardest-blowing 1923 records I can think of. It's an acoustic recording, done for the technically and ethically shady Paramount label. Tommy Ladnier is great and Jimmie Noone is even better. Even if Paramount renders the leader inaudible, it's still about the hardest-blowing 1923 record I can think of.

Ollie Powers might have been better known if he hadn't left the planet in 1928. He has a descendant named Ollie Powers who's also a musician. There's some wonderful information about Ollie I beautifully presented on Ollie II's website here.

4 Ben Allison, "Slap Happy" (Allison), from "Peace Pipe," Palmetto PM2086. Allison, b; Mamadou Diabate, kora; Frank Kimbrough, p; Michael Blake, ts; Michael Sarin, d. March 2002.

The combination of kora and O-board member Frank Kimbrough playing inside the piano threw some people. All I know is that I love the sound. Allison's liner notes say the piece is all about texture.

I'm surprised nobody got this one. I thought lots of people had this record.

I'm still dreaming of a chromatic kora.

And let me just add that I've become a big fan of Michael Sarin's playing.

5 Ralph Peterson, "The Short End of the Stick" (Donald Brown), from "V, " recorded for the Somethin' Else label of Japan but issued in USA as Blue Note CDP 7 91730 2. Terence Blanchard, tp; Steve Wilson, as; Geri Allen, p; Phil Bowler, b; Peterson, d. April 1988.

Tbis is another one of those Young Lions things that have stayed with me. The album is pretty tremendous. Geri Allen's playng is far less tame than it would become, and Terence is far less mannered than he would become. Is the drumming too much? Very well then, it's too much, but it sure ain't dull (even when the tempo is all over the place, as it is during the alto solo).

I love the head; it was also recorded by Donald Brown as "The Early Bird Gets The Short End of the Stick."

(Big Al: This was recorded in the A&R Studio in New York, and beautifully engineered by Jim Anderson of the "Ask the Engineer" thread. But Jim's also the engineer on Track 1!)

6 Eddie Durham and his Band, "Moten Swing" (credited to Bennie and Buster Moten but probably by Durham), originally a Decca 78, but this John R.T. Davies transfer is from "Sounds of Harlem Vol. 2," Hep CD 1066. Joe Keyes, tp; Willard Brown, Henry "Buster" Smith, as; Lem Johnson, ts; Conrad Frederick, p; Durham, g; Averil Pollard, b; Arthur Herbert, d. Nov. 11, 1940.

This is all about Buster Smith, Bird's mentor and biggest inspiration, who left few recordings from his prime. I want everybody to hear him! It's the closest thing to Bird before Bird.

This one accidentally set off a controversy as to whether the 78 transfer is pitched correctly. I still think this version is close to right, and Jeff offered some nice empirical evidence for this.

The rest follow shortly.

[Spontooneous]

7 Vijay Iyer, "Somewhere" (Bernstein-Sondheim), from "Historicity," ACT. Iyer, p; Stephen Crump, b; Marcus Gilmore, d. November 2008 or March 2009.

So much of the new music I hear these days seems unnecessarily obtuse and emotionally cold. But this one has overcome any resistance I can put up. I haven't succeeded in counting the rhythm – there are some sevens in there, I think – but I love this performance because it doesn't shrink from exploring any aspect of the song, and the ending gets me every time.

I know a drummer in his 20s who thinks that Marcus Gilmore is the greatest in the world. I don't know about that, but give this one an extra listen just to hear the way Marcus handles things.

8. Ivo Papasov and his Bulgarian Wedding Band, "Bulchenska Ratchenitsa (Bride's Ratchenitsa" (Youri Younakov-Radi Kazakov), from "Orpheus Ascending," Hannibal HNCD 1346. Papasov, cl; Youri Younakov, as; Nechko Neshev, accordion; Andrey Kamzamalov, g; Radi Kazakov, b; Stefan Angelov, d. Don't have a recording date; copyright 1989.

Yes, it's too much! But in a good way. I love the rhythmic intricacy and hard-blowing determination. I love the drumming; the notes call Stefan Angelov "the Bulgarian Billy Cobham," and I think there's a clue here; some of the power and intricacy of this music might inspired by early Mahavishnu Orchestra. The accordion solo isn't even a letdown. And the James Brown-style breaks always make me smile.

9 Denny Zeitlin (p) and David Friesen (b), "Equinox" (Coltrane), from "Live at the Jazz Bakery," Intuition 3257-2. May 1996.

This was included as a breather after all that frenetic activity. The improvising seems especially free, fresh and un-hung-up. Gotta envy those who can get there, because it sure ain't easy.

10. Vanguard Jazz Orchestra, "Sticks" (McNeely), from "Lickety Split: Music of Jim McNeely," New World 80534-2. April 1997. Earl Gardner, Joe Mosello, Glenn Drewes, Scott Wendholt, tp; John Mosca, Ed Neumeister, Doug Purviance, Earl McIntyre, tb; Dick Oatts, Billy Drewes, Ralph LaLama, Rich Perry, Gary Smulyan, reeds; McNeely, p; Dennis Irwin, b; John Riley, d. Solo by Ed Neumeister.

Let's do some savagely modernistic things with the old plunger sound! I've heard this one perhaps a hundred times and I'm still hearing new things every time. Neumeister leaves no stone unturned, and McNeely's writing has all kinds of amazing details.

If you want a copy of this disc, please buy it directly from the New World label, because they're a nonprofit. Link is here. And think about buying their other Vanguard Jazz Orchestra disc here too.

11 Gerry Hemingway, "Slowly Rising" (Hemingway), from "Double Blues Crossing," Between The Lines BTLCHR 71202. Wolter Wierbos, tb; Frank Gratkowski, cl; Amit Sen, cello; Kermit Driscoll, elb; Hemingway, d. October 2002.

I'm fond of the cello line and the loping groove. Guess I'm a sucker for circular, repeated tunes. The trombone and clarinet unisons might have come together better in another take or two, but the trombone improvs couldn't be much better, could they? This track was put here for NIS, who rose to the occasion by identifying Hemingway and Wierbos.

12. Willie Rodriguez, "Mr. Yosso" (Rodriguez), from "Flatjacks," Milestone MCD-9331-2. Seldon Powell, cl; Barry Galbraith, g; George Duvivier, b; Rodriguez, d. July-August 1963.

A little blues before we go. The notes say the tune was originally called "Mysterioso" but the title was changed to avoid confusion with the Monk tune. Seldon Powell is magnificent throughout this date, on several horns; talk about a studio player who never got his due! And it's great to hear Barry Galbraith solo for a change.

Many thanks to all who responded!

[Hardbopjazz]

I should have known #4 since I have the CD.

Nice BFT. Once again I knew shit.

[jeffcrom]

Nice stuff! I should have guessed Mamadou Diabate, just because the kora playing was so good.

And I just found out that Wolter Wierbos will be in Atlanta on Wednesday!

[Big Al]

I'm still dreaming of a chromatic kora.

And let me just add that I've become a big fan of Michael Sarin's playing.

With ya on BOTH matters!!!

(Big Al: This was recorded in the A&R Studio in New York, and beautifully engineered by Jim Anderson of the "Ask the Engineer" thread. But Jim's also the engineer on Track 1!)

Yep, that explains it! I probably have more CDs/LPs recorded there than I'd be unafraid I forgot about!

8. Ivo Papasov and his Bulgarian Wedding Band, "Bulchenska Ratchenitsa (Bride's Ratchenitsa" (Youri Younakov-Radi Kazakov), from "Orpheus Ascending," Hannibal HNCD 1346. Papasov, cl; Youri Younakov, as; Nechko Neshev, accordion; Andrey Kamzamalov, g; Radi Kazakov, b; Stefan Angelov, d. Don't have a recording date; copyright 1989.

Yes, it's too much! But in a good way. I love the rhythmic intricacy and hard-blowing determination. I love the drumming; the notes call Stefan Angelov "the Bulgarian Billy Cobham," and I think there's a clue here; some of the power and intricacy of this music might inspired by early Mahavishnu Orchestra. The accordion solo isn't even a letdown. And the James Brown-style breaks always make me smile.

When Mrs. Big Al & I eventually renew our vows, I am asking, no DEMANDING, that these guys play the reception! Money will be no object, especially since I have none!!! :party:

12. Willie Rodriguez, "Mr. Yosso" (Rodriguez), from "Flatjacks," Milestone MCD-9331-2. Seldon Powell, cl; Barry Galbraith, g; George Duvivier, b; Rodriguez, d. July-August 1963.

A little blues before we go. The notes say the tune was originally called "Mysterioso" but the title was changed to avoid confusion with the Monk tune. Seldon Powell is magnificent throughout this date, on several horns; talk about a studio player who never got his due! And it's great to hear Barry Galbraith solo for a change.

I must find this album/CD before I die! A quartet where the guitar replaces the piano as the chordal instrument! On one of the final sessions for Riverside Records! Thanks for hippin me to THIS one!!!!

A fine FINE BFT, Mr. Spontooneous!!! VERY much enjoyed!

Edited April 1, 2012 by Big Al

[NIS]

2. Mike Wofford, "Loose Canon" (Wofford), from "Synergy," Heavywood HW7891J. Wofford, p; Rob Thorsen, b; Joe LaBarbera, d. November 1997.

It took a long time, but a couple of years ago it bit me on the butt just how good Mike Wofford really is. This album is worth hunting down to hear an established but behind-the-scenes player really stick his neck out. Yes, the piece is a canon -- piano first, then drums, then bass -- and yes, I'm a sucker for contrapuntal stuff.

Sadly, I don't know anything about Mike Wofford at all. I need to find out more because I did like this track.

3. Ollie Powers' Harmony Orchestra, "Play That Thing," Alex Calamese, Tommy Ladnier, tp; Eddie Vincent, tb; Jimmie Noone, cl; Horace Diemer, as; Glover Compton, p; John Basley, bj; William "Bass" Moore, tuba; Powers, d. Originally a 78 on the Paramount label. This transfer is from "Jimmie Noone 1923-1928", Classics 604.

One of the loosest, hardest-blowing 1923 records I can think of. It's an acoustic recording, done for the technically and ethically shady Paramount label. Tommy Ladnier is great and Jimmie Noone is even better. Even if Paramount renders the leader inaudible, it's still about the hardest-blowing 1923 record I can think of.

Ollie Powers might have been better known if he hadn't left the planet in 1928. He has a descendant named Ollie Powers who's also a musician. There's some wonderful information about Ollie I beautifully presented on Ollie II's website here.

I haven't started looking for this music either. Is the Jimmie Noone you mentioned the best place to start?

4 Ben Allison, "Slap Happy" (Allison), from "Peace Pipe," Palmetto PM2086. Allison, b; Mamadou Diabate, kora; Frank Kimbrough, p; Michael Blake, ts; Michael Sarin, d. March 2002.

The combination of kora and O-board member Frank Kimbrough playing inside the piano threw some people. All I know is that I love the sound. Allison's liner notes say the piece is all about texture.

I'm surprised nobody got this one. I thought lots of people had this record.

I'm still dreaming of a chromatic kora.

And let me just add that I've become a big fan of Michael Sarin's playing.

At least I know a little about Ben Allison, so I'm not totally in the dark here. Big fan of Michael Sarin too even if I didn't recognized him

[NIS]

11 Gerry Hemingway, "Slowly Rising" (Hemingway), from "Double Blues Crossing," Between The Lines BTLCHR 71202. Wolter Wierbos, tb; Frank Gratkowski, cl; Amit Sen, cello; Kermit Driscoll, elb; Hemingway, d. October 2002.

I'm fond of the cello line and the loping groove. Guess I'm a sucker for circular, repeated tunes. The trombone and clarinet unisons might have come together better in another take or two, but the trombone improvs couldn't be much better, could they? This track was put here for NIS, who rose to the occasion by identifying Hemingway and Wierbos.

A track put in for me. I am honored. Good thing I didn't say it sounded like crap. What did you think about this album as a whole? I have a number of Hemingway albums but not this one.

Thanks very much for your efforts. I really enjoyed this one. Actually I'm listening to it again right now, so I'm not done yet.

Edited April 1, 2012 by NIS

[Spontooneous]

11 Gerry Hemingway, "Slowly Rising" (Hemingway), from "Double Blues Crossing," Between The Lines BTLCHR 71202. Wolter Wierbos, tb; Frank Gratkowski, cl; Amit Sen, cello; Kermit Driscoll, elb; Hemingway, d. October 2002.

I'm fond of the cello line and the loping groove. Guess I'm a sucker for circular, repeated tunes. The trombone and clarinet unisons might have come together better in another take or two, but the trombone improvs couldn't be much better, could they? This track was put here for NIS, who rose to the occasion by identifying Hemingway and Wierbos.

A track put in for me. I am honored. Good thing I didn't say it sounded like crap. What did you think about this album as a whole? I have a number of Hemingway albums but not this one.

Thanks very much for your efforts. I really enjoyed this one. Actually I'm listening to it again right now, so I'm not done yet.

I probably need to listen to the whole Hemingway album a couple more times. Seemed to me it didn't quite fit together, but I really liked the one cut.

As for Jimmie Noone, his best leader dates are on this one, and that Classics disc is a strange assemblage of sideman dates.

Good to know somebody's still listening to it!

[Hot Ptah]

This is a great Blindfold Test and had me totally stumped--which is odd because I have the albums from which #1, 4 and 12 were taken from. I need to immerse myself in my collection and rediscover some music again!