BFT 100 discussion thread

[DrJ]

Looks like probably most folks planning to participate are now in, with download link access or disc in hand (though certainly if anyone else wants to jump in at this point, let me know)- so let's get the conversation going!

I'd rather not provide any hints up front - I mean at 100 BFTs in I suspect you pretty much know all the usual traps and tricks.

Did want to note that there is a loose theme I suspect some may pick up on - it's not fully unifying (i.e. not all tracks necessarily fit the theme)- but I think discernable (we'll find out soon enough).

Keep it loose and lively, and remember the fun of all this is in the process, not whether or not you come up with the right answers!

[Jim R]

1. It Ain't Necessarily So. I like the way this was arranged… it breathes very well. I like the pianist's economy and taste. Very, very soulful. Sounds like maybe the 1960's?

2. Haven't heard this tune in some years… and have forgotten the title. Lots of Martino-esque chops on display here, and perhaps a bit too much for my taste. Not really crazy about this guitarist's tone, either. Still, an impressive performance by an impressive player. Bass solo didn't really do a lot for me.

3. Speaking of tone, that's what grabs me right out of the gate here. Both horns just sound great, to my ears, and with repeated listening maybe I might have a guess or two as to who this is. Nice tune, too, although I don't recognize it. Big thumbs up on this one. I hope I already own it.

4. The More I See You… the more I realize that I suck at identifying BFT tracks. After listening to this twice, it almost comes off just a touch routine and safe, but I still like it. Great tune, and it was swung nicely here.

5. Well, it's always been a goal of mine to hear everything at least once.

6. Very interesting track, especially because my experience with this type of material is relatively thin. I kept finding myself wondering when this was recorded. The style strikes me as late 40's/early 50's, but the sound quality makes me think it's perhaps later. Very good stuff- enjoyed it.

7. I know I've heard (and maybe owned) this, but it's been a long time. I think I may have sold the LP, and never got it on CD. Nice tune, nice playing. I'll go out on a limb (probably a bad idea) and say it reminds me of Sal Salvador, maybe from one of his 1970's/1980's albums.

8. Sounds like an Adderley Brothers kind of thing, but without a piano. Hmm. Pretty nice, but for me it never really comes together. I don't feel like the bassist and drummer are really on the same page at times.

9. Not really my favorite style/era, but certainly well played by all involved. Very together on this one. Maybe Chick Corea?

10. I like this a lot, and I'm not sure I've ever heard it. A bone and bari, but not from "Bone & Bari". Pepper & Knepper also come to mind, but this doesn't sound like Knepper to me. More like Rosolino's style at times, but I can't think of a session he did with a bari. Damn, I'm grasping at straws now… I really have no idea. But that's okay, because I really like just about everything about this recording. Props to the rhythm section too, and very tasty chords and a nicely conceived solo by the pianist.

11. Shades of track 9 for me, in terms of a style and sound that I'm no longer much interested in. Actually, track 9 was much more appealing to me than this one.

12. Respectfully, I'll pass.

13. Beautiful, captivating piece of music. I haven't any idea who this is, but I wish this track had been longer. This is the kind of recording that makes me wish I had learned to play the piano instead of guitar (there are a lot of recordings like that, come to think of it).

14. Giant Steps is always a fun ride, and there are few ensembles I enjoy more than organ/guitar/drums. I dug the organ solo, the drummer, and also the guitarist's comping. The guitar solo didn't quite maintain the same level of euphoria for me, but it's a pretty tall order for a guitar player to shine on that tune at that tempo. Nice finish.

Many thanks Tony, looking forward to learning a few things here.

[DrJ]

Thanks for getting the discussion rolling, Jim R. Some interesting observations and reactions. Couple comments:

Track 1 - your comments thus far pretty much nail it, IMHO. Care to hazard a guess on the pianist?

Track 3 - one of my favorite tracks from one of my favorite recordings - and I agree, a wonderful tune. I think you're right that with more time/listening you should be able to identify at least one if not both of the lead voices.

Track 5 - glad I could help you check another one off your list (though I think you may be surprised when you learn some of the artists involved here)

Track 6 - you're on the right track with your assessment, very astute

Track 7 - as a "guitar guy" I would bet you may come up with this one eventually, if anyone does. I suspect that it's the composition itself you're recalling, not this particular performance, though I may be wrong

Track 8 - this was the one track for which your comments truly surprised me - not the part about not personally caring for it much, rather the part about the Adderleys - I would never have predicted anyone guessing them! I figured though this was going to be one of the hardest tracks to identify; should be fascinating to see what others have to say

Track 9 - I was figuring some would guess Corea based on the nature of the composition, the intervals and lilt to the melodic line - but I'll go ahead and take that off the table now - it isn't Chick (either the song or pianist). The comment about the era surprised me a bit; to my ears this one isn't particularly time bound, seems squarely in the more or less timeless piano trio mold, though admittedly with a rock-ish influence being imparted by the drummer (and yes that is a not so subtle hint). It's always fascinating that we each react so differently to a particular piece of music

Track 10 - as with track 6, your comments suggest to me you've clearly picked up the scent, just haven't actually visualized the prey yet

Track 12 - ah well - by this far into the lineup, you needed a bathroom break anyway, right?

Track 13 - glad you enjoyed this one so much, also a favorite of mine. As with track 7, it's highly likely you've heard this composition before, just not done this way

Edited July 5, 2012 by DrJ

[Jim R]

Thanks for taking the time to itemize those responses, Tony. Lots to chew on here.

I listened to track 1 again (wow... enjoyed it even more the second time). I'm still not prepared to offer a guess on the pianist. I listened to a version I have by Ahmad Jamal (who might have been my guess if I didn't have this recording to compare). At any rate, whoever this pianist is, he/she just earned a bunch of points from me.

Track 3 is giving me that "come on, you idiot, you should know this" feeling.

Thanks for the feedback on track 7... this is really going to bug me now. Thanks a lot for messing with my brain.

Re track 8, just to be clear, I wasn't exactly guessing the Adderleys... was just reminded of them somewhat (despite the absence of a piano). Another track that I'll have to re-examine.

Track 10 may be the most intriguing of all, for me. Really love it, and look forward to seeing the mystery unfold.

[tkeith]

Well, this one prompted me to do something I don't usually do -- search. I came up empty. Another overall enjoyable BFT. Looking forward to learning some of these.

1 - Nice take on It Ain't Necessarily So. Something about the voicings in the comping has me thinking Horace Silver, but then it goes away. The lefthand really speaks of Horace, but not the right, so much. I like this. The drummer is a little stiff, but it's not distracting, just really tight, the way Han Bennink was with Booker Ervin.

2 - ESP, but why? Guy has mad chops, I just wish the contemporary side of this music could move beyond this point from 45 years ago. Not sure who this is, but the rigid edge to the time reminds me of Larry Coryell. This one isn't really doing much for me. Unless this is two guitars, that guitar is overdubbed? That's a strike for me right there. Drum-bass interplay is more interesting to me, but still isn't quite firing. I'm seeing guys in the studio with headphones on, and that's a problem of "contemporary" Jazz. Forget the monitors -- listen to one another. I'm guessing early-to-mid 90s. Russell Malone?

3 - There is something Desmond-ish about the time of the alto player. I recognize the tune, but not the version. Something about the time makes me think this is a modern group playing older music. Trumpet sound is close to Dorham/Farmer, but the ideas are more Eddie Henderson. I'm sure I don't know who this is, but the tune is so damned familiar. My overarching impression of this is that, despite an interesting piano solo, it's very polite. Could maybe be Billy Hart on drums, but very restrained.

4 - The More I See You. The last BFT had a vibes sound that was reminiscent of Walt Dickerson, and this has some of that same quality, but to a lesser extent. Something about the shimmering vibrato, but it's not as spread as Dickerson's (can you tell I know nada about the vibes?). The feel of this reminds me of Gene Ammons' The Boss Is Back album. Seems like these are all guys I likely know, but maybe as sidemen from other recordings. The groove is there and it stays within itself. I like this. It's also polite, but feels more like it means it.

5 - Not a clue, not my bag.

6 - I want to like this more than I do. I like the stop-time arrangement, but the trumpet player seems to be playing equation Jazz. All standard arpeggios, carefully practiced and learned by rote. Tenor sound reminds me of Billy Mitchell but without his great sense of time. Almost a tad sloppy. It seems like a guy who isn't really accustomed to blending into a larger ensemble. Again, the notes are right, but it all seems too learned. I really like the arrangement.

7 - More shimmering vibrato. Excepting that, the guy reminds me of Dave Stryker. Gah! What is that tune. Sonny Rollins, right? The recording sounds is messing with me. Mid-80s? Wild guess -- Geoff Keezer on piano?

8 - Shades of that early Ornette sound. This reminds me a lot of William Parker's stuff with Jemeel Moondoc, but it's not them.

9 - Sounds an awful lot like Tony Williams, so I'll guess that it's Cindy Blackman on drums. The piano sounds a lot like the guys who transitioned from the 60s to where guys like Robert Glasper and Vijay Iyer are, now. Hmmm... now that we're to the drum solo, I'm hearing it more as Terry Lynne Carrington than Cindy.

10 - Huh! I was just listening to this in the car! The one and only Park Adams on baritone. It's LITTLE DREAMS from this. Love this record! Pepper was such a bad man! The unmistakeable doo-wop tinge of James Williams.

11 - This sounds like the real Tony Williams to me. I'm sure of it, but I don't recognize the tune. I was wondering if it might be the Mabumi Yamaguchi record he was on, but I'm not at all familiar with the player or album.

12 - No clue. Something George Russell-ish about it.

13 - I'm reasonably certain I have this, but I can't place it. It's pleasant, but in a very positive way. I mean, brushes, trio, nice recording -- could easily be a Muzak description, but this is very, VERY nice.

14 - Take off on David Murray's Murray's Steps. (KIDDING!!!) My immediate thought was that it was Joey Defrancesco, and I remembered the album vividly... 'til I went to find it. Now I'm stumped but that's who it sounds like to me.

Edited July 6, 2012 by Thom Keith

[DrJ]

Thanks for joining the fray, Thom! A few additional comments in response:

Track 2 - many of your comments are right on target (obviously I LIKE it more than you and Jim R did, but I mean your comments about assembly/process - that may be a useful hint). This is a bit of a tricky one - all will be revealed soon enough, and I think you'll find it'll all make sense.

Track 4 - I agree with you and Jim R- it is restrained - but, to me in a good way. As to the players, keep guessing, suspect people will come up with at least some of them.

Track 7 - Pretty close as to the vintage...early 1980s. But not Stryker, not a Rollins tune, and not Keezer on piano.

Track 8 - Yes Ornette (with Don Cherry) is who I hear in this, not Adderleys, but it ain't Ornette or Don (or the folks you mention).

Track 9 - Regarding the drummer, you're really warm.

Track 10 - What a strange coincidence! Not exactly a widely known recording!

Track 11 - nope, off all around. Did you (or Jim R for that matter) recognize the tune? Famous one, by a very well-known, still active jazz artist, though done up quite differently than in its more popular rendition. Just a hint; figuring that out may help you with figuring out which recording it's from, and the players.

Track 13 - Glad to hear this one seems to please so far, I love it. Someone needs to nail the composition at least - it's one I'm sure all or nearly all of you will know from a more famous recording (I think it's a long shot anyone will get the musicians, unless they happen to already have or have heard this - that's one reason I included the piece - this recording and these guys deserve more attention).

Edited July 6, 2012 by DrJ

[Jim R]

Finally figured out track 7. I knew I used to own this one. I was focusing so much on the tone that I forgot to focus on the touch, rhythmic feel, and style of the player. It's the title track from this. I've never been a big fan of this player, largely because of his touch and rhythmic feel. Not a knock, just a personal reaction.

[Jim R]

Listening to track 4 again, it struck me more clearly as a soul-jazz sounding thing, and I thought about a certain player, which led me to this one. Not sure I've ever seen this album, nor heard of this label. The only recording of his that I own is on Jazzland.

[Big Al]

Halfway through and will have comments later, but I think I've discovered the theme: Music Designed to Make Big Al a VERY Happy Owl! I am enjoying this BFT tremendously!!!!

Oh, and I haven't looked at anyone's comments either. Not that it would make any difference...

[DrJ]

Glad you're enjoying it Al!

And nice detective work on tracks 4 and 7, Jim R! Surprised (and impressed) you actually owned the recording from which I pulled track 7 - pretty obscure - the disc I have has a different title actually and looks like this, but I think all the tracks are the same. Interestingly as I look at the cover art for the disc at the link you provided, the tenor sax player (present on only a couple tracks, and obviously not including the one I included in the BFT) is listed as "Dju Berry" which is pretty funny. You may already know the saxophonist's real identity, but I'll reveal it at the end of the discussion, as I view that as a further reason to pick up this disc (which I really enjoy).

Edited July 6, 2012 by DrJ

[NIS]

Thanks for the BFT. Not my normal listening but that isn't a complaint.

#4 is a song I've always liked, I'm a sappy romantic. This take just ok but I do like the way the vibes are played. Reminds me of Johnny Lytle but there isn't an organ or Houston Pearson.

For some reason I am kind of attracted to track #5. Maybe because it's different and fun. A little Texas swing kind of fiddle there.

Track #8 sounds familiar, probably because of the style. The bass is really strong and I would guess it's the bass players album. I like this track much.

Sorry I don't have much to say right now, but now I can follow the comments and find out what's going on.

[DrJ]

Thanks for the BFT. Not my normal listening but that isn't a complaint.

#4 is a song I've always liked, I'm a sappy romantic. This take just ok but I do like the way the vibes are played. Reminds me of Johnny Lytle but there isn't an organ or Houston Pearson.

For some reason I am kind of attracted to track #5. Maybe because it's different and fun. A little Texas swing kind of fiddle there.

Track #8 sounds familiar, probably because of the style. The bass is really strong and I would guess it's the bass players album. I like this track much.

Regarding Track 4 - astute observations.

Re: Track 5 - Thanks goodness, someone liked it! Just WORLD CLASS musicians of an earlier era, having a little swinging fun with a novelty vehicle. You hit the "Texas swing" thing on the nose (though the "fiddler" here wasn't usually in quite this bag) - Bob Wills and his Texas Playboys would have been all over this one. Jazz doesn't always have to be so serious.

Track 8 - not the bass player's album, but again glad you liked it, I think it's wonderful - there is a nice dramatic tension sustained throughout. It does sound to me very similar to the music of a much more famous musician and his frequent front line partner (see Thom Keith's comments) but it isn't them.

Edited July 6, 2012 by DrJ

[Jim R]

Interestingly as I look at the cover art for the disc at the link you provided, the tenor sax player (present on only a couple tracks, and obviously not including the one I included in the BFT) is listed as "Dju Berry" which is pretty funny. You may already know the saxophonist's real identity...

Interesting, and no, I don't recall. I remember the "Dju Berry" alias, but I've forgotten who it actually was... probably because I don't think I kept that LP for too long. 25+ years has separated me from the details.

[BillF]

Interestingly as I look at the cover art for the disc at the link you provided, the tenor sax player (present on only a couple tracks, and obviously not including the one I included in the BFT) is listed as "Dju Berry" which is pretty funny. You may already know the saxophonist's real identity...

Interesting, and no, I don't recall. I remember the "Dju Berry" alias, but I've forgotten who it actually was... probably because I don't think I kept that LP for too long. 25+ years has separated me from the details.

Stan Getz. Google will find you anything:

http://www.jazzdiscography.com/fitzgera/pseudo.htm

[Dan Gould]

Ever notice how everyone pays attention to the first guy to do something, but the second guy, not so much? Who was the second guy to run a four-minute mile? Anyone? Well, we hunt down Dr. J to make sure he puts together BFT #100, but does anyone ask me to do #101?

Just sayin'.

Seriously though, its good to see Tony back at the scene of his crime, that crime being the one who started this whole shebang. Kinda amazing to realize its been 100 so far and its still going strong.

On to my meager guesses/comments:

1. Very enjoyable "Ain't Necessarily So". Taste and soul ... I am going to say Hank Jones. No, wait, maybe Tommy Flanagan on the Lonely Town LP? No, its not on there so I'm back to Hank. Or Tommy. If its either one, I get credit, right?

2. Guitar chops up the wazoo, but to little effect. For me. YMMV.

3. I am nearly 100% certain I own this, but I'm not about to try to figure it out. Wait, could this be Cedar Walton on one of the Astor Place recordings, where he was teamed up with some younger guys?

4. Nice but no names are coming to mind. Milt Jackson is my fall-back vibes player but I don't think its him.

5.

6. Diggin' on the arrangement but like #4 I'm not thinking of anyone in particular.

7. More mad chops ... I need some KB or Grant Green as an an antidote to this kind of playing.

8. Really liked this a lot more than I expected I would at the start. I'm conservative enough in my tastes that aside from a tenor/bass duo like Dex & NHOP or Houston Person & Ron Carter, I tend to really miss the piano in this kinda group ... and I really expected them to take this up and out but instead they maintained the mood and kept my interest throughout. Definitely curious about this and the rest of the recording it comes from.

9. NMCOT®

10. Nice! Did Gary Smulyan guest on a Steve Davis Criss Cross CD?

11. Do I get credit if I say this was recorded in the 70s? I don't know ... there are fairly few electric piano sides that do much for me. I'm gonna say Steve Gadd on drums, because its bugging me. As we hit the soprano or whatever that is ... NMCOT®.

12. Ugh.

13. Fine for what it is but my overall reaction is "meh". Whoever it is, he/she ain't no Gene Harris!

14. "Giant Steps", chop-heavy organ. Joey D, perhaps.

Thanks for coming back to the fold to contribute BFT 100, Tony. Like the original BFT, it started out great, inevitably there was an occasional misfire, but I know one thing: I may have been second on the BFTs, but I'm still number one overall.

[DrJ]

Well Dan you'll always be number 2 to me!

Some general comments at this point:

Wow - very surprised at the pretty much universally negative reactions to the guitar tracks, 2 and 7. I can tell fast guitar players ain't too popular 'round these parts. I'm not a fan of mindless speed and chops either but I think the guys on this BFT clearly have ideas, they just execute them at high speed...and frankly, does the world really need a legion of cookie-cut, classic-toned, slow moving, bluesy jazz guitarists in the Kenny Burrell mode? Or the next Grant Green? Not hardly, since there's only one KB and was only one Grant Green and IMHO most of the imitators are the aural equivalent of Sominex. But clearly the mileage here is varying!

Re: Track 5 - what happened to all the folks I remember from here who listened to music recorded before 1940? Crickets chirping...

Also very surprised Track 9 doesn't seem well liked either, but again I guess any rock influence is frowned upon on in most jazz circles. I think people will be surprised at the musicians though.

A few added comments in response to yours specifically Dan:

Track 8 - interesting you liked this. The influences here would not be those I would figure you'd be interested in based on what I know of your tastes - this has a VERY strong Ornette Coleman/Don Cherry flavor. But, I'm glad you dug it and suspect you'd enjoy the rest of the recording, too Dan.

Track 10 - cool, seems to be shaping up as a favorite.

Track 11 - recorded very recently (within the last few years), definitely not the 70s. Again, NOBODY recognizes the tune? It was one of the few pop hits by a jazz artist - hitting 71 on the main Billboard chart but made the top 10 in the UK, and in the US was number 6 on the "Hot Black Singles" chart and a big dance club favorite - there's a big huge hint.

Track 13 - this tune and the style is about as (intentionally) far from Gene Harris as you could possibly get. I'm a huge Harris fan but that is some serious apples and oranges stuff right there - I don't think you've given it a fair hearing if that's the yardstick (though you still might not end up liking it of course). And still nobody has picked up the composition...it's on a mega-famous recording made in the 1950s made by a mega-famous pair of musicians, but done in a very different arrangement, if that helps.

Not too much to add beyond that Dan, other than to say none of your guesses is correct and I don't think there were any "misfires" myself (but next time I'll make sure to get your OK on the final track list before it goes out ).

Edited July 8, 2012 by DrJ

[Dan Gould]

Well Dan you'll always be number 2 to me!

Hey, number 2 ain't the worst gig to have!

... frankly, does the world really need a legion of cookie-cut, classic-toned, slow moving, bluesy jazz guitarists in the Kenny Burrell mode?

Maybe not a legion but I'll take Peter Bernstein over most of the blazing guitarists any day.

Re: Track 5 - what happened to all the folks I remember from here who listened to music recorded before 1940? Crickets chirping...

Don't give up yet - there are definitely one or two guys who will have no trouble IDing that track.

Track 13 - this tune and the style is about as (intentionally) far from Gene Harris as you could possibly get. I'm a huge Harris fan but that is some serious apples and oranges stuff right there - I don't think you've given it a fair hearing if that's the yardstick (though you still might not end up liking it of course).

Wasn't really using Harris as the yardstick - but for what it was, it kinda struck me as "fey". Still curious to know who it was though.

Thanks again, Dr. J.

[DrJ]

Hey, number 2 ain't the worst gig to have!

Finally, we come to my number two man. His name? Number Two.

Edited July 8, 2012 by DrJ

[Jim R]

Track 10 was bugging me to no end, so I came back to see if anybody had figured it out. Glad to see that Thom has put me out of my misery. I was practically a completist when it comes to the bone player, but I never got around to picking up that session (probably couldn't find it used ).

Re Track 1... this one was driving me nuts also, and it didn't help that I lost my Filemaker Pro database to a hard drive crash last year. I scoured my collection manually, and finally hit paydirt. It's track 2, from this. A pianist that probably never gets enough props around here in general, but what a master. Yet another wake-up call that I have a lot of music here that I need to play more often.

[DrJ]

Re Track 1... this one was driving me nuts also, and it didn't help that I lost my Filemaker Pro database to a hard drive crash last year. I scoured my collection manually, and finally hit paydirt. It's track 2, from this. A pianist that probably never gets enough props around here in general, but what a master.

Yes! I've often thought that if I ever had a jazz radio show, this would be the theme music I'd play at the intro. Just sublime.

Edited July 9, 2012 by DrJ

[Dan Gould]

Offtopic but does Grant Green get much solo space on his tune on that LP?

I know, I should just buy it anyway ...

[Jim R]

"Anima Christi" and "Praise The Lord" both feature Green playing a lot of prominent-in-the-mix chords and fills (mostly pet licks), but no extended solos.

[Big Al]

Okay, okay, OKAY!!! I don’t know how I’m gonna contain my excitement now that I’m sitting here actually banging out guesses, commentary, and the usual shenanigans. For ONCE, I actually stand a chance of not being so clueless!!!

Oh, and did I mention that this is, by far, and with no disrespect to any previous BFT compilers (except for whoever compiled 21, 54, and 73; that guy needs serious help!), the BEST BFT EVER!!!

Okay here we go:

Track 1: I thought this was Bill Evans doing “It Ain’t Necessarily So.” Then I thought it was Herbie Hancock. Then I thought it was McCoy Tyner. Then I realized I’d run out of piano players I know! Beautiful nonetheless!

Track 2: I thought this was Peter Leitch doing “Eye of the Hurricane,” cuz it has that nice hollow-body sound. But then I realized it could be Joe Pass with a rhythm guitarist, or maybe even Pat Martino. Here’s what I *do* know: even if a Herbie piece is played correctly, ie get all the notes & chords right, it’s rare if someone captures the feeling of the piece. This bunch not only nailed it, AFAIC they surpassed the brilliant original. Boyoboy, I sure hope this one’s in print!

RECANT AFTER LISTENING TO TRACK 14: Okay, so this isn’t “Eye of the Hurricane.” Boy, did I feel dumb. Then when I realized track 14 ALSO isn’t “Eye of the Hurricane,” that set me off on a frantic search because I REFUSED to post my answers until I identified the tune for this and track 14 (which is below). This is “E.S.P.” which seems kinda ironic now that I think about it!

Track 3: You know that feeling you get when a song starts and it just instantly grabs you, calms you, soothes you, and makes you feel like all is well with the world? Well, that happened on BFT 12, on which Hubert Laws’ original version of this lovely tune appears. It also happened again here, on this BFT! I found myself whistling along with what I thought was a flute only to realize that’s a trumpet and by God, that sounds like Kenny Dorham! Ah, a guy can dream! I tell ya, this reminds me of the album Dorham did with Cliff Jordan, and one track in particular, “Down Through the Years,” but nothing else on that album came close to THIS level of serene beauty! Once all of this slobbering is over, I’m gonna go find this one! And I sure hope THIS ONE’S in print, too!

Track 4: “The More I See You,” and the more I listen to this, the more I think this is Johnny Lytle, what with the congas and the relaxed swing of the drummer that marked many a Lytle Riverside date (I bet I can figure this one out after I’m done here). Maybe a Solid State date? At first I thought this was his date on which Bobby Timmons was the leader on Prestige, but it ain’t on there, so there you go. I’m sticking with Lytle as my guess, and ONCE AGAIN hoping this one’s in print!!!

Track 5: No clue. Sure sounds like the Andrews Sisters to these clueless ears, and while I won’t argue with their jazz chops, there’s GOT to be another reason for putting them on a BFT! What is it??? Grappelli on the violin? Little Jazz on the trumpet? I dunno. Think I’ll just enjoy it for what it is: sweet!

Track 6: A nice relaxed run through “Double Talk,” which at this pace could probably be called “Single Talk,” but not for lack of energy. It sounds like a gathering of old bop survivors rallying ‘round the flag with everything they’ve got. Good, if not entirely essential, but always enjoyable when the old cats strut their stuff and show the young ‘uns they continue to be forces to be reckoned with!

Track 7: Another guitar quartet with a rhythm guitarist! J, you are a jazzer after my own heart! This has moments that remind me of “Mean What You Say,” and then there’s a couple spots that make me think of another song, arrrrrghhhhh, I hope I can think of it! I sure hope this one’s in print, too, otherwise J’s gonna have an unexpected visitor arriving at his house once the answers are revealed!

Track 8: Very definitely in the Ornette/Cherry mode, albeit with less abstraction and a beat to DIE for! How cool would it be if this were Jackie McLean & Donald Byrd? I’d love that!

Track 9: There’s a tune called “Jump Monk” that I’ve never heard, but this song sounds like that title! Boy, does this one get me goin’! Sure sounds like Tony Williams on the drums with that hi-hat goin’ crazy like that!

Track 10: Gotta catchy riff and a nice swing to it. Not a terribly big fan of the bari sax, but nothing that would make me say this BFT still ain’t batting 1000 for me!

Track 11: First thought as my jaw hung open: I don’t know why someone would put Miles’ “Freedom Jazz Dance” on a BFT and I don’t freakin’ care! CRANK IT UP, BABY!!! But then that theme comes in! Where the heck have I heard that before? It’s gotta hit me sometime. That’s DEFINITELY Tony Williams on the drums, I don’t care what anyone says! The electric piano suggests something from the CTI era, maybe Sir Roland Hanna or somethinglikethat! Argh! What is that theme? I KNOW I’ve heard it before, but where?!?!?!? And that sounds like Joe Farrell on soprano! Did Tony Williams ever record something for CTI? Maybe that’s DeJohnette on the drums. Oh this is driving me up a freakin’ wall! Song’s over and it FINALLY hits me: Herbie Hancock’s “Rockit!” But that came out in ’83, which negates everything I’ve assumed up until now! Well, whatever, this is SO much cooler than the Herbie electro-MTV that I never liked! In print? I sureasheck hope so!!!

Track 12: Okay, this track was the most difficult one to get through, and only when it was over did I see the brilliance of it. I wanted to just dismiss this as someone left the tape running while the band was getting in tune, but as I waited for the other shoe to drop, I realized that there was no other shoe to drop, and that there might not have even been a first shoe! This could probably make a great film score, but it may even be too abstract for that. And that’s what I like about this: it’s abstract without being obnoxiously dissonant. There’s a structure to the formlessness, if you will. Then again, I could just be full of it, trying to sound smarter than I really am. Not sure I’d listen to this again, but I can sure appreciate it for what it is. Or isn’t!

Track 13: Kinda has an if-John-Fahey-played-piano vibe at the very beginning. Kinda flourishy & flowery, not necessarily bad, but it sounds like the piano player is trying to emulate a Gershwin piano roll for the dinner crowd. I could see this being played at my favorite Italian restaurant.

Track 14: Another stab at “Eye of the Hurricane” doesn’t achieve the sublime heights of the erar.... Wait, this isn’t “Eye of the Hurricane” because track 2 is… wait, no track 2 isn’t..... aw crap...

(frantic search, edit added to track 2 guess, off to figure out THIS tune)

OHFORTHELOVEOFGOD I can’t BELIEVE I’ve forgotten the name of this tune! That sound you will be hearing soon will be me kicking myself with steel-tipped chukka boots for not identifying this tune! I’M SO ASHAMED!!!!!!!!

Whatta BFT! I could listen to this nonstop for hours! I can hardly wait to see what everyone else has to say, but I gotta say: whatta way to finish the first hundred BFT’s! DrJ, you have created a BFT masterpiece, AFAIC!!!!

Edited July 9, 2012 by Big Al

[Big Al]

14. Giant Steps

{{{facepalm}}} {{{KICK}}} Ouch! {{{KICK}}} Ouch! {{{KICK}}} Ouch! {{{KICK}}} Ouch! {{{KICK}}} Ouch!

10 - Huh! I was just listening to this in the car! The one and only Park Adams on baritone. It's LITTLE DREAMS from this. Love this record! Pepper was such a bad man! The unmistakeable doo-wop tinge of James Williams.

Aw, now I feel bad cuz I love me some Pepper!

Listening to track 4 again, it struck me more clearly as a soul-jazz sounding thing, and I thought about a certain player, which led me to this one. Not sure I've ever seen this album, nor heard of this label. The only recording of his that I own is on Jazzland.

OH BOY!!!! I GOT ONE RIGHT!!!!! WOW!!!!!

9. NMCOT®

Ah, nice to see this in use again!

Re Track 1... this one was driving me nuts also, and it didn't help that I lost my Filemaker Pro database to a hard drive crash last year. I scoured my collection manually, and finally hit paydirt. It's track 2, from this. A pianist that probably never gets enough props around here in general, but what a master.

Yes! I've often thought that if I ever had a jazz radio show, this would be the theme music I'd play at the intro. Just sublime.

You guys know that another track from this album is used as the theme song to “Night Lights,” right? But I’m with Jim (as usu-al), I need to check out this record!

[Hot Ptah]

I love #12, which is Communications #9 by the Jazz Composers Orchestra, the silver 2 LP set, with Larry Coryell on guitar. Am I right?