BFT 108 Discussion Thread

[Dan Gould]

Jim is on a roll. Yes it is Sweets. Who is the drummer? Who is the pianist if not OP?

Still not sure about "Blues in The Closet" and you better watch it, bub or I'll run your ass right outta here!

[Jim R]

Jim is on a roll. Yes it is Sweets. Who is the drummer? Who is the pianist if not OP?

Good question. I'll try to get back to you on that.

Still not sure about "Blues in The Closet" and you better watch it, bub or I'll run your ass right outta here!

Damn, I shoulda stuck with the basketball thing.

[Jim R]

Dan, is track 4 labeled as "Sonny And Sweets", by any chance? The reason I ask: http://www.music-city.org/Harry-Edison/Complete-Studio-Recordings-742615/

Now, I don't think your track was recorded in '55, but I wonder if the alternate title "stuck", and was used again in later years. If not, I'm assuming another alternate title came about, because the tune is "Blues In The Closet" (... ump! )

[Dan Gould]

No that is not the credited title.

Now how does an umpire extricate himself from an untenable position? I know: siddown and shut up or I'll run your ass just for the hell of it.

[Jim R]

Damn. Sleuthing this without a title is a lot harder. Sweets was prolific. I wish I could figure out who that pianist is... based on some of the Peterson-esqueness, I was almost going to guess Paul Smith, but I don't feel like that's correct.

[Dan Gould]

Not Paul Smith. I would think the drummer and/or label would perhaps lead to the pianist. It is definitely the case that the drummer is better known.

[The Magnificent Goldberg]

And he wrote a lot of riff-based blues numbers. This one's a little like 'Mean greens', but not enough like it, I think.

MG

[JSngry]

Coming down with a cold...maybe have a few restive moments here to chime in, so with the usual thanks and disclaimers firmly in place...

TRACK ONE - Neo/Retro Blakeyistic, all the "devices" rolled into one tune, very efficient! Trumpet's pitch is a little flat, like he's blowing harder than his embouchure can handle, but just ever so slightly. Alto is very Cannonball like, so I'll guess early Vincent Herring, maybe with Nat Adderley? I was about to get bored until the tenor started...he ends up trying too hard, but that was a fun entrance! Hell, I hear verbal encouragement, this might actually be one of those very last Blakey bands where he was hiring everybody jsut to get it all in while he could. Overall, it bugs me because there is this air of "trying" rather than "doing", but otoh, can you ever blame somebody for trying, at least at first?

TRACK TWO - Well, that's just bizarre! Alto player seems to be heartfeltly halfway hearing Bird & Dolphy both (or if this is old enough, maybe just Sonny Criss, which gives you both at the same time), so I'd guess West Coast, maybe Earl Andreza from some broadcast, if such a thing exists? Definitely sounds like Teddy Edwards on tenor, though, although in an extremely casual mood. The whole thing is just weird, in a good way, all these...gestures coming out of nowhere and going back just as quickly, but in a good way, like everybody was really loaded and hyped at the same time. Crazy!

TRACK THREE - I should know who this is by the tone...there's a bit of Turrentine in there, as well as David Murray/Benny Walace/Lew Tabackin/however that lineage goes, but the real personality comes out to me when the head starts getting played. Can't put a name on it right now, but how much I don't like "hearing the math" is usually relative to how generic the tone is, and this tone is not exactly generic. so I like it more than I might somebody else playing the same stuff with a less generic tone. Not busy enough to be Ernie Watts, but...maybe? No?

TRACK FOUR - Collard Greens In The Closet! Sweets on trumpet, has to be. OP on piano (not OP the composer of the tune, HA!) rolling on rolling on rolling on.Put another nickel in, says Sweets! I'd call this one 7-Up because it's crisp and clean with no caffeine. Doesn't need any! Hey, this is what those guys did when they were doing it, and they did it for a long time. And prospered. So, yeah, good for them, very good for them!

TRACK FIVE - No idea who or what, but if there is such a thing as a proper cup of tea (and why shouldn't there be?), then this is a proper alto blueseyjazzlament ballad. And the trumpet player kinda sounds like Lee. Kinda.

TRACK SIX - I should know this tune...but don't. Something Ellingtonian? Very nice old-school, controlled concept of tone and vibrato...Buddy Tate? I admire anybody who can play the bottom end of the horn like that. Shit, I should know that piano player too...it's crazy enough to be Earl HineThis is enjoyable.

TRACK SEVEN - Something Ellingtonian? A tone like BB's, but not fingers like his! This is good from every angle, arrangement, solos, ensemble, rhtythm section, tempo, pocket, you name it, it's all good...so this must be the Saul Goode All-Stars, right? I would very much like to know who the arranger is/was.

TRACK EIGHT - That's an interesting combination of ingredients..the tenor player sounds old, but not as in feeble, more like in been-through-this-for-so-long-I-can't-count-the years-any-more type old. Same thing, sorta with the whole thing. There's a...patience in the tempo that younger folk just can't conceptualize. And there is a Ray Charles vibe tot the whole thing, so this might be Volume 3 of My Kind Of Jazz?

TRACK NINE - Are those voices or a synth? Synth, I think? Electronics on a Dan Gould BFT, we are TRULY living in The Last Days! And holy bejeebers, is that a drum machine,at least at first? Why yes, I think it is! OMG! And yet, in spite of all the Electron-ic Evil, it's not at all a bad cut. Good jazzy-blusey guitar and changes that make the less-travelled pivots just often enough to keep from being too predictable. And the fade out/in...is this from a 45? The tune itself sounds like it would be fun to play live.

TRACK TEN - And speaking of Unspeakable Evil, It's Quincy Jones' "Birth Of A Band"! Various version are out there, and this is as good as any I've heard. One of the tenor players sounds a bit like Fathead, though, so...not Quincy's band?

TRACK ELEVEN - A lot of Stitt-isms, but not really Stitt's tone. Hmmm....Nice, very nice. I feel like I might recognize the player if a few more choruses were to have been played.

TRACK TWELVE - I standby my original assessment!

TRACK THIRTEEN - "Old Devil Moon"..and I should recognize this player...somewhat like Ahmad Jamal, but only somewhat, and not very much somewhat at that. Brubeck? There's a slight rushing to the pianist's time that suggests Brubeck, as do the little outbreak/spasms, which I like. But they are also at times very Bud-ish, so...Billy Taylor? Overall, it sounds like a set piece without any improvisation, and ok, nothing wrong with that. Oh, I see how it is: http://www.freshsoundrecords.com/our_love_is_here_to_stay-cd-3311.html

TRACK FOURTEEN - She hada, she hada, she hada hada wooden leg...Zsa-Zsa, Zsa-Zsa-, went to jail for slappin' a cop...Gene Harris & Ray Brown, drummer unknown/irrelevant? I know people like to listen to the soloist, but jeezus, listen to that bass playing, the time & the tone...that's how you do this type of thing, period, and if it ain't Ray Brown, it's somebody who would be flattered by the comparison.

TRACK FIFTEEN - "Lullaby Of The Leaves", I think it is. That tenor player is quirky with his/her tonguing. Puts me in mind of Vi Redd's alto playing somehow, and that's a good thing. I like Vi Redd. Also a little quirky with the push-pull nature of their time within a line. That's something not too many people really do, well or otherwise. Whoever it is, I'd like to hear at least a little more of them.

TRACK SIXTEEN - NIGHTCLUB MUSIC!!!! Sure sounds like Cannonball, maybe from the Mercury era w/Junior Mance and them. That's some frisky shit right there, I know I'm ready to stick and stay and don't go away!

Very enjoyable compulation, Dan. with some real mystery to go with the pleasure. And who doesn't like that?

[JSngry]

AH! #6 = "Blue Star" by Eddie Johnson w/John Young on piano. Indian Summer is the album, on Nessa. The tune I should have remembered from Carter's Further Definitions album.

Good stuff!

[Jim R]

And he wrote a lot of riff-based blues numbers. This one's a little like 'Mean greens', but not enough like it, I think.

MG

Unless there's more composer credit history/controversy here than I'm aware of, Edison did not write this tune, and there shouldn't be any confusion. It's called "Blues In The Closet", written by Oscar Pettiford. If there IS some controversy over that, I'm all ears...

[JSngry]

And he wrote a lot of riff-based blues numbers. This one's a little like 'Mean greens', but not enough like it, I think.

MG

Unless there's more composer credit history/controversy here than I'm aware of, Edison did not write this tune, and there shouldn't be any confusion. It's called "Blues In The Closet", written by Oscar Pettiford. If there IS some controversy over that, I'm all ears...

aka "Collard Greens And Black-Eyed Peas" as recorded by Bud Powell.

[Dan Gould]

Coming down with a cold...maybe have a few restive moments here to chime in, so with the usual thanks and disclaimers firmly in place...

TRACK ONE - Neo/Retro Blakeyistic, all the "devices" rolled into one tune, very efficient! Trumpet's pitch is a little flat, like he's blowing harder than his embouchure can handle, but just ever so slightly. Alto is very Cannonball like, so I'll guess early Vincent Herring, maybe with Nat Adderley? I was about to get bored until the tenor started...he ends up trying too hard, but that was a fun entrance! Hell, I hear verbal encouragement, this might actually be one of those very last Blakey bands where he was hiring everybody jsut to get it all in while he could. Overall, it bugs me because there is this air of "trying" rather than "doing", but otoh, can you ever blame somebody for trying, at least at first?

Not Blakey, and not Vincent Herring. The band includes someone I think you may have more to say about.

TRACK TWO - Well, that's just bizarre! Alto player seems to be heartfeltly halfway hearing Bird & Dolphy both (or if this is old enough, maybe just Sonny Criss, which gives you both at the same time), so I'd guess West Coast, maybe Earl Andreza from some broadcast, if such a thing exists? Definitely sounds like Teddy Edwards on tenor, though, although in an extremely casual mood. The whole thing is just weird, in a good way, all these...gestures coming out of nowhere and going back just as quickly, but in a good way, like everybody was really loaded and hyped at the same time. Crazy!

Still waiting on a tune ID. I may have to give hints sometime later this month. Not West Coast, nor Anderza or Teddy. But these are the kind of comments I thought I might get. There's a chance Mike Weil IDs this because in the recent past he name-checked one of the artists ... but I'll be the first to say its plenty obscure. 'Cept for that tune, guys!

TRACK THREE - I should know who this is by the tone...there's a bit of Turrentine in there, as well as David Murray/Benny Walace/Lew Tabackin/however that lineage goes, but the real personality comes out to me when the head starts getting played. Can't put a name on it right now, but how much I don't like "hearing the math" is usually relative to how generic the tone is, and this tone is not exactly generic. so I like it more than I might somebody else playing the same stuff with a less generic tone. Not busy enough to be Ernie Watts, but...maybe? No?

Not Watts, and I was actually hoping you'd know this one ... might be related to track 1.

TRACK FOUR - Collard Greens In The Closet! Sweets on trumpet, has to be. OP on piano (not OP the composer of the tune, HA!) rolling on rolling on rolling on.Put another nickel in, says Sweets! I'd call this one 7-Up because it's crisp and clean with no caffeine. Doesn't need any! Hey, this is what those guys did when they were doing it, and they did it for a long time. And prospered. So, yeah, good for them, very good for them!

Sweets yes, OP no. Honestly I do not hear OP in this guy, which makes it rare for the era/label. There's a hint somewhere in there.

TRACK FIVE - No idea who or what, but if there is such a thing as a proper cup of tea (and why shouldn't there be?), then this is a proper alto blueseyjazzlament ballad. And the trumpet player kinda sounds like Lee. Kinda.

Now, does "proper" have anything to do with "neo"? I'm especially wondering because of the 'kinda sounds like Lee' trumpeter.

TRACK SIX - I should know this tune...but don't. Something Ellingtonian? Very nice old-school, controlled concept of tone and vibrato...Buddy Tate? I admire anybody who can play the bottom end of the horn like that. Shit, I should know that piano player too...it's crazy enough to be Earl HineThis is enjoyable.

TRACK SEVEN - Something Ellingtonian? A tone like BB's, but not fingers like his! This is good from every angle, arrangement, solos, ensemble, rhtythm section, tempo, pocket, you name it, it's all good...so this must be the Saul Goode All-Stars, right? I would very much like to know who the arranger is/was.

Glad somebody liked this! Jim R. got it with a little digging.

TRACK EIGHT - That's an interesting combination of ingredients..the tenor player sounds old, but not as in feeble, more like in been-through-this-for-so-long-I-can't-count-the years-any-more type old. Same thing, sorta with the whole thing. There's a...patience in the tempo that younger folk just can't conceptualize. And there is a Ray Charles vibe tot the whole thing, so this might be Volume 3 of My Kind Of Jazz?

The tenor was old at the time of the recording. Does the "patience in the tempo" imply a group of similarly aged players?

TRACK NINE - Are those voices or a synth? Synth, I think? Electronics on a Dan Gould BFT, we are TRULY living in The Last Days! And holy bejeebers, is that a drum machine,at least at first? Why yes, I think it is! OMG! And yet, in spite of all the Electron-ic Evil, it's not at all a bad cut. Good jazzy-blusey guitar and changes that make the less-travelled pivots just often enough to keep from being too predictable. And the fade out/in...is this from a 45? The tune itself sounds like it would be fun to play live.

Finally! Somebody figured out why there might be a fade in/out in the middle of the tune. Another one I thought you might have, and its another one Mike Weil may get, as I know for a fact he's got this recording.

TRACK TEN - And speaking of Unspeakable Evil, It's Quincy Jones' "Birth Of A Band"! Various version are out there, and this is as good as any I've heard. One of the tenor players sounds a bit like Fathead, though, so...not Quincy's band?

This is one I thought you would get - Jim R. figured it out eventually.

TRACK ELEVEN - A lot of Stitt-isms, but not really Stitt's tone. Hmmm....Nice, very nice. I feel like I might recognize the player if a few more choruses were to have been played.

If this tenor were around, he'd be thrilled to be associated with Sonny Stitt. One I thought you would get.

TRACK TWELVE - I standby my original assessment!

Very good recollecting! The more I listen the more I agree with you.

TRACK THIRTEEN - "Old Devil Moon"..and I should recognize this player...somewhat like Ahmad Jamal, but only somewhat, and not very much somewhat at that. Brubeck? There's a slight rushing to the pianist's time that suggests Brubeck, as do the little outbreak/spasms, which I like. But they are also at times very Bud-ish, so...Billy Taylor? Overall, it sounds like a set piece without any improvisation, and ok, nothing wrong with that. Oh, I see how it is: http://www.freshsoundrecords.com/our_love_is_here_to_stay-cd-3311.html

Good sleuthing - after going nowhere near "Gene Harris" in your ruminating.

TRACK FOURTEEN - She hada, she hada, she hada hada wooden leg...Zsa-Zsa, Zsa-Zsa-, went to jail for slappin' a cop...Gene Harris & Ray Brown, drummer unknown/irrelevant? I know people like to listen to the soloist, but jeezus, listen to that bass playing, the time & the tone...that's how you do this type of thing, period, and if it ain't Ray Brown, it's somebody who would be flattered by the comparison.

Not Ray, not Gene. Not really expecting this to be ID'd, but its a great track and performance for a Gene/Not Gene interlude in a BFT!

TRACK FIFTEEN - "Lullaby Of The Leaves", I think it is. That tenor player is quirky with his/her tonguing. Puts me in mind of Vi Redd's alto playing somehow, and that's a good thing. I like Vi Redd. Also a little quirky with the push-pull nature of their time within a line. That's something not too many people really do, well or otherwise. Whoever it is, I'd like to hear at least a little more of them.

TRACK SIXTEEN - NIGHTCLUB MUSIC!!!! Sure sounds like Cannonball, maybe from the Mercury era w/Junior Mance and them. That's some frisky shit right there, I know I'm ready to stick and stay and don't go away!

It is Cannonball, and it is the Junior Mance-era group. Would like someone to ID the drummer, since he tears it up.

Very enjoyable compulation, Dan. with some real mystery to go with the pleasure. And who doesn't like that?

Glad you were able to join the fun and that you enjoyed the disc.

And he wrote a lot of riff-based blues numbers. This one's a little like 'Mean greens', but not enough like it, I think.

MG

Unless there's more composer credit history/controversy here than I'm aware of, Edison did not write this tune, and there shouldn't be any confusion. It's called "Blues In The Closet", written by Oscar Pettiford. If there IS some controversy over that, I'm all ears...

What? You still riding me from the bench? You are OUTTA HERE!

[Dan Gould]

AH! #6 = "Blue Star" by Eddie Johnson w/John Young on piano. Indian Summer is the album, on Nessa. The tune I should have remembered from Carter's Further Definitions album.

Good stuff!

Outstanding stuff!

Glad it was ID'd; anyone who hasn't ordered it ought to.

Easily my favorite Nessa release, (Ben Webster, Did You Call Her? was leased) ... but that's just me.

[Dan Gould]

Normally this discussion would be delayed until the reveal, but I'll point it out now ... Jim ID'd track 12 as a 45 by someone named Gene Harris - a someone both he and I believe is "the" Gene Harris.

He also identified Track 13 as coming from a Jubilee LP by the Gene Harris Trio, and that LP has been identified by Gene's widow as being Gene's first recording session. She told me they were in Japan and between sets the club owner put this record on and then brought it out to ask Gene to sign it. He was embarrassed to hear it after so many years.

One of the reasons I've questioned whether it was in fact Gene is that it just doesn't sound like him. The other reason is that Jubilee apparently used a photo of a white guy and gave their "Gene Harris" a false, heavy-on-the-classical-training bio. This would have been before the Sounds were active, so its not like he was breaking his contract with BN at the time (as he may have been for the 45 recording session.)

So - of the two tracks, which sounds like Gene Harris? "Gene Harris" or the one that is definitely "Gene Harris"? If it had to be one or the other, I'm going with the "Beginning to See the Light" track over "Old Devil Moon". Is it even possible these are the same people?

You see why I put these together now ...

[JSngry]

I think "Old Devil Moon" might well be "the" Gene Harris while still putting his own voice together, still working through the popular piano influences of the day. I can hear that.

[Jim R]

And he wrote a lot of riff-based blues numbers. This one's a little like 'Mean greens', but not enough like it, I think.

MG

Unless there's more composer credit history/controversy here than I'm aware of, Edison did not write this tune, and there shouldn't be any confusion. It's called "Blues In The Closet", written by Oscar Pettiford. If there IS some controversy over that, I'm all ears...

aka "Collard Greens And Black-Eyed Peas" as recorded by Bud Powell.

Ah, thanks. So far we have BITC, CGAB-EP, and "Sonny & Sweets" (as mentioned earlier in the thread), and unless Dan's recording is labeled as CGAB-EP, there's at least one more alias out there (and possibly more...?). This is causing me to wonder if I really understand this phenomenon of tunes being re-titled. I mean, I know there are quite a few tunes with two or three titles, and controversies about who actually wrote certain tunes, but is BITC perhaps considered such an organic line that everybody can claim to have thought of it? And how many titles are out there for this tune?

Dan, I'm convinced now- you'd make an excellent umpire.

Btw, I don't dislike track 7 as much as I implied with the negative specifics. I think I was more focused on sleuthing and fine details than general evaluation, so my bad for not saying anything positive about it. Stryker is a fine player, and this is a good track.

Edited March 10, 2013 by Jim R

[The Magnificent Goldberg]

AH! #6 = "Blue Star" by Eddie Johnson w/John Young on piano. Indian Summer is the album, on Nessa. The tune I should have remembered from Carter's Further Definitions album.

Good stuff!

Outstanding stuff!

Glad it was ID'd; anyone who hasn't ordered it ought to.

Easily my favorite Nessa release, (Ben Webster, Did You Call Her? was leased) ... but that's just me.

Damn! I've got this one!

MG

[Dan Gould]

I think "Old Devil Moon" might well be "the" Gene Harris while still putting his own voice together, still working through the popular piano influences of the day. I can hear that.

I still find it surprising that through the entire LP there would be hardly a trace of the blues sensibility that is at the core of his style. Don't forget Albert Ammons and Pete Johnson were his earliest inspirations.

AH! #6 = "Blue Star" by Eddie Johnson w/John Young on piano. Indian Summer is the album, on Nessa. The tune I should have remembered from Carter's Further Definitions album.

Good stuff!

Outstanding stuff!

Glad it was ID'd; anyone who hasn't ordered it ought to.

Easily my favorite Nessa release, (Ben Webster, Did You Call Her? was leased) ... but that's just me.

Damn! I've got this one!

MG

I figured a few people would!

[JSngry]

I think "Old Devil Moon" might well be "the" Gene Harris while still putting his own voice together, still working through the popular piano influences of the day. I can hear that.

I still find it surprising that through the entire LP there would be hardly a trace of the blues sensibility that is at the core of his style. Don't forget Albert Ammons and Pete Johnson were his earliest inspirations.

Well, yeah, but blues/boogie-woogie and modern jazz were still at odds with each other for a lot of people back then, and no matter where he was coming from, if he wanted to be a commercially viable "modern jazz" player, I can certainly see where he would try to play things that reflected Jamal, Shearing, Powell, Brubeck, etc. and downplay his more earthier roots, at least early on. This was still at a time when "cool" influences still held sway in the overall marketplace. Shearing was on Capitol, Brubeck had, I think, just signed to Columbia, and Horace Silver was still pretty much, in the eyes of the general marketplace, still a cult figure on a cult label. What a difference a few years would make, but this 1st Jubilee session was 1955, right? Hard Bop/Soul Jazz hadn't quite gained critical mass yet, although it was about to

You used to see that a lot with players who has a good feel for more "earthy" musics but wanted to play something more "sophisticated". Seems silly now, but there was that divide that a lot of people put up, and one that still exists in some ways today. Gene was one of the lucky ones in that he got around to realizing that you don't have to be either/or.

I would be just as unsurprised to find that this was "the" Gene Harris as I would be to find out that it wasn't. But the man himself claimed it. right? So then you gotta ask "how", and I think the answer is as simple as that he was still looking for his own identity at the time he made this record. Sounds like he was looking to fit in rather than making his own place.

Mingus went through somewhat the same conflict/resolution, albeit on a much more "epic" scale. But the essence of it was the same - do I play the "low-down" or do I play the "nice". Eventually, the good ones find a wake to turn it all into one thing.

[Dan Gould]

It was 1955, per the bsnpubs.com Jubilee discography. You certainly make good points, and it is absolutely true that Janie Harris told me that he claimed the LP as his own - with a palpable sense of "god it sounds awful, doesn't it?" So you are probably completely right that he was finding his own way still, or else sublimating his own style into something that worked commercially.

I'm willing to believe that ... but what about the fake bio and the photo of the white guy? Here's a guy trying to make his way in jazz, gets a chance to record, and the label wants to put a white guy on the back cover and a bio about his classical training? I can imagine that as a first-time opportunity he might have no say in the matter and had to acquiesce. Still doesn't make too much sense to me though.

If there was no white, classically-trained Gene Harris on Jubilee, that does argue for the Gene Harris Stereo-Gems 45 to be "Gene Harris" and not "a" Gene Harris. And I think we both feel it sounds more like the Gene we know. So where does that leave us with Genie In My Soul, which was recorded in 1959, per the bsnpubs discography. Or else, just released in 1959.

Believe it or not, I had this LP and got rid of it, believing that it was another guy of modest skill. The fact that the bio continues the lie actually makes sense now, because The Sounds were recording for BN by then, assuming it was recorded in 1959 and not left overs from the first session. But if it was recorded at that time, how does he sound more like 1955 Gene then BN Gene?

I really should hunt down another copy of it, to get a better handle on it. I remember thinking "this doesn't sound like Gene at all" but its possible it sounded more like Gene than the 1955 album.

In fact, I just went looking on Ebay for a copy, and I find more interesting tidbits. Our Love is Here to Stay has no originals - but Gene in My Soul has a couple. Publishing credit is "Half Note Music Co." Publishing credits on Harris originals on Blue Note is "Groove Music".

And, the lies are expanded on in the liners. There is a long list of stars he has supposedly played with - Stitt, Pediford, McGhee, Webster and a variety of singers. And the real interesting thing is that one original "That's Oona" is dedicated to his "wife" who has inspired him to keep going in the 'crazy' jazz world.

I just read through the relevant chapters of Janie's biography of her husband. In the early 50s he fathered a couple of children, but the couple made the mutual decision not to marry. "A few years later" he had a relationship with one Ann Jeter, who eventually "eventually took Gene's last name." Not she doesn't say they married, it could have been the 'common-law' type of arrangement. By the way, Ann Jeter is or was the mother of Niki Harris, who worked for many years backing Madonna. Could this woman be 'Oona'? There's no mention of it in the book.

So again, more lies to cover up the true artist and avoid a lawsuit from Blue Note? I swear, if the liners just mentioned Benton Harbor Michigan or had a damn photo of a young Gene Harris, there wouldn't be any confusion. But you read shit like this and it just leaves you wondering.

[Hardbopjazz]

I haven't read anyone's comments yet, but this BFT is really stumping me. So far I thinnk I have the first track.

Track 1 This Is Art Blakey and the Jazz Messengers. I have all Blakey's records but I can't find this one. I wonder if it is one I don't have.

Track 2 Sounds like Louis Jordan and his band.

Track 3 No clue yet

Track 4 Oscar Pettiford's "Blues in the Closet." I don't know who this is on trumpet. Could it be Howard McGhee? Pianist I have no clue either.

Track 5 I really like the changes to this one, but I have no clue who this is.

Track 6 This sounds like the Texan, "Arnett Cobb." I love Cobb's tone. If it's not Cobb, then it is his lost twin

Track 7 I like this. No guesses at the moment.

Track 8 Sounds like something that would have been put out by Blue Note in the 60s with Grant Green, Lou Donaldson and Baby Face Willette. I don't know who it is, but I am going to buy this once I find out.

Track 9 Stumped.

Track 10 No idea

Track 11 Can't say I have any idea who the tenor player is, let along the pianist. It not Sonny Stitt? Stitt played better.

Track 12, "I'm Beginning to See the Light." I have this recording, I know I do, but I can't recall who the hell it is on piano. His grunts on this one is what is familiar to me.

Track 13. "Old Devil Moon" I want to say Brubeck. When I saw Brubeck at the Blue Note in NYC 5 years ago he played this.

Track 14 Although not Gene Harris, I see this person did some listening to Gene.

Track 15 "Lullaby Of The Leaves." Is this Von Freeman?

Track 16 no clue

After I receive my failing grade, I will go back and listen again.

[Dan Gould]

I haven't read anyone's comments yet, but this BFT is really stumping me. So far I thinnk I have the first track.

Track 1 This Is Art Blakey and the Jazz Messengers. I have all Blakey's records but I can't find this one. I wonder if it is one I don't have.

Not Blakey but obviously a drummer and band inspired by him. I hope people seek out his discs when the answer is revealed.

Track 2 Sounds like Louis Jordan and his band.

Well, you did come up with the most off-the-wall guess. What makes you think of Jordan?

Track 3 No clue yet

Track 4 Oscar Pettiford's "Blues in the Closet." I don't know who this is on trumpet. Could it be Howard McGhee? Pianist I have no clue either.

Jim R. got the trumpeter and I guess he got the title too.

Track 5 I really like the changes to this one, but I have no clue who this is.

Track 6 This sounds like the Texan, "Arnett Cobb." I love Cobb's tone. If it's not Cobb, then it is his lost twin

Sangrey got this one ... didn't think of an Arnett Cobb similarity but ok ...

Track 7 I like this. No guesses at the moment.

Track 8 Sounds like something that would have been put out by Blue Note in the 60s with Grant Green, Lou Donaldson and Baby Face Willette. I don't know who it is, but I am going to buy this once I find out.

The musicians will be pleased to be compared to such a group.

Track 9 Stumped.

Track 10 No idea

Track 11 Can't say I have any idea who the tenor player is, let along the pianist. It not Sonny Stitt? Stitt played better.

Track 12, "I'm Beginning to See the Light." I have this recording, I know I do, but I can't recall who the hell it is on piano. His grunts on this one is what is familiar to me.

Jim S. remembered this track. I don't think actually have it, but you probably did listen to it once before.

Track 13. "Old Devil Moon" I want to say Brubeck. When I saw Brubeck at the Blue Note in NYC 5 years ago he played this.

Track 14 Although not Gene Harris, I see this person did some listening to Gene.

Track 15 "Lullaby Of The Leaves." Is this Von Freeman?

I wonder if we may have another song title dispute. Not Lullabuy, not Freeman.

Track 16 no clue

After I receive my failing grade, I will go back and listen again.

Thanks for joining the fun Tom. I'm glad some of these songs really tickled your fancy.

[Hardbopjazz]

It is Louis Jordan on #2?

[Dan Gould]

No, I'm curious why you would think of Louis Jordan on what I think is a fairly well-known hard bop tune.

[JSngry]

Is #2 a non-American group, at least in part?