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Blindfold Test #114 Discussion


tkeith

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Thom, sorry for the bad going on, hope and pray it ends up ok. Great BFT, you really picked wonderful rhythm sections and sax players, thanks so much!

1 -Classic blues, love the bass and the tenor

3 – Sweet Groove! Liked the Tenor

4 – This is the kind of stuff I “grew up” listening to. Sounds like it is sourced from an LP, and that they listened to Atlantic period Coltrane/Tyner. Pretty wonderful

5 – Very accomplished and lovely.

6 – Love the pulse and momentum on this, and the trumpet player. But the drum solo is a drag, even though I LOVE the drumming otherwise on this one.

7 – good stuff, though to me the sax stumbles. The pianist is fluent, the trumpet sassy.

10 – I liked that, and I don’t normally go for solo sax.

11 – Philly style! This is the type of stuff I “grew up on” at Third Street Jazz, the New Foxhole Cafe. Etc in the early/mid 70’s. Sounds like Khan Jamal, who was influenced by Walk Dickerson, both Philly guys. And definitely sounds like Byard Lancaster, aPhilly institution. Though I’m more identifying memories of a genre and time/place rather than ID’ing the specific players.

12 – Same era and zeitgeist. Really really really like the Pharoah Sanders-infuenced tenor playing. Can’t wait for this to be ID’d. Even the bass and drum solos work!

13 – This was the only cut totally lost on me. "totally lost on me" often has meant Michael Brecker.

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Thanks for the early reflections. You're ears picked up some nice directions, though I think some of the reveals are going to be surprising in terms of chronology. One thing I will say (and not trying to start a flame war), it's highly unlikely that the name "Michael Brecker" will ever make an appearance on one of my playlists. We are of a very similar mind on this issue.

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OK, here's a starter.

1. I admire those who can guess bass players, because I can't. The tenor is somewhere between Johnny Griffin and Stanley Turrentine. Sounds like a Prestige recording at Van Gelder's. Pianist sounds pleasantly like Red Garland, but probably isn't because Red would have played longer. A beautiful cut.

Exploring the lesser-known Prestige sax players in my collection leads me to the ID. It's track 1 here:

http://www.allmusic.com/album/roamin-with-richardson-mw0000177242

2. Still at Van Gelder's place. It occurs to me during the trombone solo that the drummer HAS to be Elvin. A tenor player very attentive to what Mr. Rollins was putting down – wonderful solo! Is that Yusef Lateef? Maybe somewhere among his Savoy recordings?

3. Shoot, I know I've heard this before. It's probably lurking in my collection somewhere. Is that Grant Green? The tune itself makes me think of TV commercials from the '60s.

4. Either it's Coltrane playing "The End of a Love Affair" or it's the best imitation of Coltrane and the classic quartet anyone will ever hear. Can't pin down the recording, though.

5. The song is "Portrait," composed by Mingus. Lovely version, not one note too many.

6. Don't know what it is, but it sounds like a record that belongs in my collection, right now, please.

7. "If Ever I Would Leave You," nice arrangement. The trumpet sounds like Kenny Dorham, in all the best ways.

More another day.

(Edited to fix embarrassing typo.)

Edited by Spontooneous
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Ding! Ding! First correct ID, and I was hoping that one was going to be obscure enough to pass. ;) Your other observations are all spot on. I'm going to refrain from saying more at the moment because there are two surprises in there that I don't want to reveal too early.

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1. Great opener. I peeked and saw Spontooneous 's ID, which I never would have come up with.

2. I like this one a lot. I think that this is a jazz group playing Latin jazz, rather than a Latin group with jazz soloists, because they drop the Latin rhythm for the most part during the solos. I have heard this before from other jazz groups who are delving into another style. The trombone player states his ideas without displaying speed or chops for their own sake, which is refreshing.

3. An excellent tenor sax player, but I can't identify him.

4. This is really odd to me. That is either John Coltrane or someone who has his Atlantic era playing down cold, more so than anyone else I have ever heard. But the rhythm section sounds more contemporary. They are trying to play in a style like musicians who would have played with Coltrane, but they sound like a 1990s or 2000s recording to me. The pianist sounds brighter and more rushed than McCoy Tyner ever sounded with Coltrane, and does not sound like any other late 1950s/early 1960s pianist to me. The bass player is too busy, displays his chops too much, to be Jimmy Garrison, Paul Chambers or any of the other bassists who recorded with Coltrane. The drummer is not Elvin Jones, and does not sound like a late 1950s/early 1960s drummer to me.

This sounds like a recreation album, where a contemporary rhythm section was brought in to record along with a previous recorded part by John Coltrane--like they did with the "Bird" film soundtrack.

5. This is a beautiful solo piano piece. I cannot identify the pianist, and want to know who it is. It sounds fairly recent.

6. This is my kind of music. I love the head. The solos are very well played and compelling. The tenor sax solo, the trumpet solo, the bass solo--all first rate, exciting. I want to get this album!

7. "If Ever I Would Leave You". I remembered that this title is a bonus track on the CD of Kenny Dorham's "Una Mas" album, but upon playing that CD, that is not this recording. I do not know who this is.

My reactions to the rest of the cuts will be coming soon. This is an outstanding Blindfold Test!

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2. I like this one a lot. I think that this is a jazz group playing Latin jazz, rather than a Latin group with jazz soloists, because they drop the Latin rhythm for the most part during the solos. I have heard this before from other jazz groups who are delving into another style. The trombone player states his ideas without displaying speed or chops for their own sake, which is refreshing.

Good observation. I'm not commenting, yet, but I like the thought behind it.

4. This is really odd to me. That is either John Coltrane or someone who has his Atlantic era playing down cold, more so than anyone else I have ever heard. But the rhythm section sounds more contemporary. They are trying to play in a style like musicians who would have played with Coltrane, but they sound like a 1990s or 2000s recording to me. The pianist sounds brighter and more rushed than McCoy Tyner ever sounded with Coltrane, and does not sound like any other late 1950s/early 1960s pianist to me. The bass player is too busy, displays his chops too much, to be Jimmy Garrison, Paul Chambers or any of the other bassists who recorded with Coltrane. The drummer is not Elvin Jones, and does not sound like a late 1950s/early 1960s drummer to me.

This sounds like a recreation album, where a contemporary rhythm section was brought in to record along with a previous recorded part by John Coltrane--like they did with the "Bird" film soundtrack.

Again, terrific observations.

5. This is a beautiful solo piano piece. I cannot identify the pianist, and want to know who it is. It sounds fairly recent.

This one may surprise.

6. This is my kind of music. I love the head. The solos are very well played and compelling. The tenor sax solo, the trumpet solo, the bass solo--all first rate, exciting. I want to get this album!

Yes, you do. Great compositions throughout. This is not a band I would typically gravitate towards and, to my ear, it's as good as I've ever heard the tenor.

7. "If Ever I Would Leave You". I remembered that this title is a bonus track on the CD of Kenny Dorham's "Una Mas" album, but upon playing that CD, that is not this recording. I do not know who this is.

Again, I anticipate people being surprised by this one; I certainly was.

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Here are the rest of my impressions:

8. This is a beautiful piece. I really like the bass solo near the beginning of the song. The trumpet and trombone player are quite lyrical. I would guess that the pianist is the leader. He plays with the most command, and is the most distinctive soloist to my ears. I have no idea who it is, but I like it.

9. This is a lovely vocal. I do not know who is singing, but I like her voice.

10. I feel that I know who is playing this solo saxophone, that I have heard this player play unaccompanied saxophone before, perhaps as an intro to a piece with other musicians. Some of the phrases here are so close to what I have heard someone else do. But try as I might, I cannot remember who this player is, who I have heard before.

I like this a lot. I will take a stab and say Archie Shepp, but I am not real confident with that guess.

11. Oh, I just love this! This is the kind of jazz I listened to often when I was just getting into jazz in the 1970s. This is my kind of music! So it is exciting that I don't know who it is, because now I can get another album that I will love.

It reminds me of the India Navigation albums of the second half of the 1970s, but I don't think I have this one. Is the vibest Jay Hoggard?

12. Another example of the kind of music I really, really love. This reminds me of the McCoy Tyner albums featuring Azar Lawrence, but I don't think there were any recordings by them with this instrumentation. I can't wait to find out what this is.

13. This reminds me of the folk-influenced heads on some of the Keith Jarrett/Jan Garbarek recordings, but they are not playing here. This sounds more recent than their collaborations anyway. I like this a lot--it is lyrical and compelling to me.

The whole run of Tracks 10 through 13 is fantastic to me. That 10--13 section is what I might prepare for myself as a mix-CD of some of my favorites. Now I have to find out which albums which I don't have, will be among my favorites! (It will be mildly embarasssing if I have one or more of them and don't know it).

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Here are the rest of my impressions:

8. This is a beautiful piece. I really like the bass solo near the beginning of the song. The trumpet and trombone player are quite lyrical. I would guess that the pianist is the leader. He plays with the most command, and is the most distinctive soloist to my ears. I have no idea who it is, but I like it.

Pianist is not the leader. This one may surprise some people as it is lesser known than the leader's other work.

9. This is a lovely vocal. I do not know who is singing, but I like her voice.

When reveal time comes, this one has a nice story with it.

10. I feel that I know who is playing this solo saxophone, that I have heard this player play unaccompanied saxophone before, perhaps as an intro to a piece with other musicians. Some of the phrases here are so close to what I have heard someone else do. But try as I might, I cannot remember who this player is, who I have heard before.

I like this a lot. I will take a stab and say Archie Shepp, but I am not real confident with that guess.

Not Archie, but certainly a contemporary, though with a later start. You may well know who this is as your description rings a bell.

11. Oh, I just love this! This is the kind of jazz I listened to often when I was just getting into jazz in the 1970s. This is my kind of music! So it is exciting that I don't know who it is, because now I can get another album that I will love.

It reminds me of the India Navigation albums of the second half of the 1970s, but I don't think I have this one. Is the vibest Jay Hoggard?

Not Jay. I agree with your assessment and love of this. I owe a huge thanks to Charlie Kohlhase for turning me on to this.

12. Another example of the kind of music I really, really love. This reminds me of the McCoy Tyner albums featuring Azar Lawrence, but I don't think there were any recordings by them with this instrumentation. I can't wait to find out what this is.

I hope that this BFT renews interest in this player. He deserves better recognition.

13. This reminds me of the folk-influenced heads on some of the Keith Jarrett/Jan Garbarek recordings, but they are not playing here. This sounds more recent than their collaborations anyway. I like this a lot--it is lyrical and compelling to me.

Good ear. I had the same reaction to this, though it's by no means my favorite cut on the album. I figured the tune would send folks in a direction, but thus far, no one is taking the bait.

The whole run of Tracks 10 through 13 is fantastic to me. That 10--13 section is what I might prepare for myself as a mix-CD of some of my favorites. Now I have to find out which albums which I don't have, will be among my favorites! (It will be mildly embarasssing if I have one or more of them and don't know it).

Dude! You, me, and webbcity need to hang. Seriously.

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Here are the rest of my impressions:

8. This is a beautiful piece. I really like the bass solo near the beginning of the song. The trumpet and trombone player are quite lyrical. I would guess that the pianist is the leader. He plays with the most command, and is the most distinctive soloist to my ears. I have no idea who it is, but I like it.

Pianist is not the leader. This one may surprise some people as it is lesser known than the leader's other work.

9. This is a lovely vocal. I do not know who is singing, but I like her voice.

When reveal time comes, this one has a nice story with it.

10. I feel that I know who is playing this solo saxophone, that I have heard this player play unaccompanied saxophone before, perhaps as an intro to a piece with other musicians. Some of the phrases here are so close to what I have heard someone else do. But try as I might, I cannot remember who this player is, who I have heard before.

I like this a lot. I will take a stab and say Archie Shepp, but I am not real confident with that guess.

Not Archie, but certainly a contemporary, though with a later start. You may well know who this is as your description rings a bell.

11. Oh, I just love this! This is the kind of jazz I listened to often when I was just getting into jazz in the 1970s. This is my kind of music! So it is exciting that I don't know who it is, because now I can get another album that I will love.

It reminds me of the India Navigation albums of the second half of the 1970s, but I don't think I have this one. Is the vibest Jay Hoggard?

Not Jay. I agree with your assessment and love of this. I owe a huge thanks to Charlie Kohlhase for turning me on to this.

12. Another example of the kind of music I really, really love. This reminds me of the McCoy Tyner albums featuring Azar Lawrence, but I don't think there were any recordings by them with this instrumentation. I can't wait to find out what this is.

I hope that this BFT renews interest in this player. He deserves better recognition.

13. This reminds me of the folk-influenced heads on some of the Keith Jarrett/Jan Garbarek recordings, but they are not playing here. This sounds more recent than their collaborations anyway. I like this a lot--it is lyrical and compelling to me.

Good ear. I had the same reaction to this, though it's by no means my favorite cut on the album. I figured the tune would send folks in a direction, but thus far, no one is taking the bait.

The whole run of Tracks 10 through 13 is fantastic to me. That 10--13 section is what I might prepare for myself as a mix-CD of some of my favorites. Now I have to find out which albums which I don't have, will be among my favorites! (It will be mildly embarasssing if I have one or more of them and don't know it).

Dude! You, me, and webbcity need to hang. Seriously.

If the Red Sox and Royals meet in the AL playoffs, come to Kansas City and we'll hang (great barbecue guaranteed).

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  • 2 weeks later...

Okay, here goes everything. Thom, I gotta say, you have outdone yourself...there is some killin, killin stuff here...wooo!! I am loving this. Well done.

First off, I love the photo and am tempted to make that the new profile photo for the Equal Time Facebook page. :)
Track 1 - Love the bass player, right off the bat...terrific feel and sound. Okay...the alto player is no slouch either. That is a fiery solo. Damn, this is nice! The piano solo starts off with a bang too. I'm guessing this was recorded in the first half of the 60s so I should be able to come up with some names here but I'm failing. Sounds like a Riverside or Prestige date? Not sure, but I need to know who this is.
Track 2 - The trombonist stands out right away, both in the ensemble playing at the beginning (which is perfect), and the solo. A thoughtful, musical player. Oh man...and that tenor player!! I KNOW who this is, I must...I recognize some of those licks. This is great. Definitely detecting a Rollins influence, but it's not him. I like this. Solid groove throughout too...love the drummer. Sounds Elvin. As in Elvin Jones, not like an elf. :)
Track 3 - Groovy, baby! I'm guessing this is the guitarist's record? The tenor player is a better soloist than the guitarist though. Tight rhythm section for sure. Overall I like this.
Track 4 - Okay...this is confusing. This has GOT to be Coltrane...but what the hell? This is truly bizarre. The piano player is definitely doing all sorts of Tynerisms, but it's not him...which is especially clear when it comes time for the piano solo. And I've no idea who the bass player and drummer are. This is a real mystery. Wow.
Track 5 - I like this a lot. Love the way it builds just a bit after the 1:00 mark, with those rolling chords...man! And then it comes right back down again. A dynamic performance. Touches of the traditional and the modern here. I'm a fan of the composition too, interesting chord progressions. Very curious to know who this is. Beautiful.
Track 6 - Damn, you are pulling out some great stuff here. LOVE this! Okay...every time you do a BFT I have to guess Mal Waldron somewhere, so...Mal Waldron? Man, this is killin. I love it all...the horn solos are perfect, and I am really down with the whole bass and drums thing, that is fantastic. Some more crazy guesses: Roy Haynes? Richard Davis? Kenny Dorham?...no, Lee Morgan? Okay...I may just be off my nut. But I love this. There is literally nothing that I don't love about this track.
Track 7 - Some familiar-sounding players here but again I'm having trouble with names. Actually I am now getting a message from beyond that the tenor player could be Frank Foster, but those messages sometimes come through a little garbled so it could be way off. All standard disclaimers apply. Hmmm...the piano solo is pretty outstanding, and I am now wondering if it's the piano player's date. This is good. The drummer sounds like a slightly unstable Philly Joe (and I don't mean that as a negative, just a descriptor...).
Track 8 - Nice bass solo. Honestly I am listening at the moment on really crappy speakers (another excuse, I know)...but it sounds kinda like Sam Jones. Could the fluegel player be Art Farmer? This has a nice easy feel to it, very enjoyable. Clearly recorded in the 70s or early 80s, which honestly I think was a great time for jazz despite what most say. But I know I'm preachin to the choir here.
Track 9 - Hmmm...this could be the first real miss for me. I like the overall feel of it, and there are bits of the tune that I like, but I am not crazy about the singer or the lyrics. Kinda making a guess that you included this for the sax player though? That's one of the best parts of this, to me. That and the rhythm section.
Track 10 - Awesome. This is a great improvisation. Oddly, the repeated motif on its own isn't all that interesting to me, but whoever is playing this is doing a hell of a job building from it. Very cool. No guesses, but I love it.
Track 11 - Good grief man...just stop it, seriously. I don't know where you are pulling all of this stuff from...so much of this is my bag and you haven't shared it with me yet...what the hell dude? Well, okay, maybe you did share it with me but I forgot. Anyway...my guess on this one is Khan Jamal with Johnny Dyani. Dudu Pukwana on alto? I might be mistaken, but whatever it is, it kills and I need to hear more of it.
Track 12 - Wow, okay...honestly...I give. This is too much. Who in God's name is that tenor player? Good lord...I am not trying to be funny here, but really, I am running out of superlatives. I just need this right now. Un-friggin-believable. I got so excited listening to this I almost hurt myself.
Track 13 - An interesting twist here, we are now in different territory...but in some ways, we aren't really. I like this a lot. Sounds like a tune I should be familiar with, or it is just a familiar-sounding tune. Damn...this is really beautiful. Wasn't expecting the sax to come in, that only adds to the magic of this one.
I swear, I am going to have a long shopping list after I find out what all of these are. Well done brotha!! :party:
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Okay, here goes everything. Thom, I gotta say, you have outdone yourself...there is some killin, killin stuff here...wooo!! I am loving this. Well done.

First off, I love the photo and am tempted to make that the new profile photo for the Equal Time Facebook page. :)

Track 1 - Love the bass player, right off the bat...terrific feel and sound. Okay...the alto player is no slouch either. That is a fiery solo. Damn, this is nice! The piano solo starts off with a bang too. I'm guessing this was recorded in the first half of the 60s so I should be able to come up with some names here but I'm failing. Sounds like a Riverside or Prestige date? Not sure, but I need to know who this is.

No surprise that you'd love the bassist. Your chronology is a hair off, and it's a tenor, but otherwise, you're right on it. This is an OJC.

Track 2 - The trombonist stands out right away, both in the ensemble playing at the beginning (which is perfect), and the solo. A thoughtful, musical player. Oh man...and that tenor player!! I KNOW who this is, I must...I recognize some of those licks. This is great. Definitely detecting a Rollins influence, but it's not him. I like this. Solid groove throughout too...love the drummer. Sounds Elvin. As in Elvin Jones, not like an elf. :)

Correct about Elvin. And you *do* know one of the tenors.

Track 4 - Okay...this is confusing. This has GOT to be Coltrane...but what the hell? This is truly bizarre. The piano player is definitely doing all sorts of Tynerisms, but it's not him...which is especially clear when it comes time for the piano solo. And I've no idea who the bass player and drummer are. This is a real mystery. Wow.

These are the reactions I was hoping for on this. :)

Track 5 - I like this a lot. Love the way it builds just a bit after the 1:00 mark, with those rolling chords...man! And then it comes right back down again. A dynamic performance. Touches of the traditional and the modern here. I'm a fan of the composition too, interesting chord progressions. Very curious to know who this is. Beautiful.

surprised no one has gotten this. Folks will be surprised by this.

Track 6 - Damn, you are pulling out some great stuff here. LOVE this! Okay...every time you do a BFT I have to guess Mal Waldron somewhere, so...Mal Waldron? Man, this is killin. I love it all...the horn solos are perfect, and I am really down with the whole bass and drums thing, that is fantastic. Some more crazy guesses: Roy Haynes? Richard Davis? Kenny Dorham?...no, Lee Morgan? Okay...I may just be off my nut. But I love this. There is literally nothing that I don't love about this track.

None of those folks, but it shouldn't surprise you that I had the identical reaction to this.

Track 7 - Some familiar-sounding players here but again I'm having trouble with names. Actually I am now getting a message from beyond that the tenor player could be Frank Foster, but those messages sometimes come through a little garbled so it could be way off. All standard disclaimers apply. Hmmm...the piano solo is pretty outstanding, and I am now wondering if it's the piano player's date. This is good. The drummer sounds like a slightly unstable Philly Joe (and I don't mean that as a negative, just a descriptor...).

This will be a shocker all around.

Track 8 - Nice bass solo. Honestly I am listening at the moment on really crappy speakers (another excuse, I know)...but it sounds kinda like Sam Jones. Could the fluegel player be Art Farmer? This has a nice easy feel to it, very enjoyable. Clearly recorded in the 70s or early 80s, which honestly I think was a great time for jazz despite what most say. But I know I'm preachin to the choir here.

Again, this one will shock people. I don't really expect anyone to get this one. A hint is that this is an early recording of this player and his larger body of work went in a very different direction.

Track 9 - Hmmm...this could be the first real miss for me. I like the overall feel of it, and there are bits of the tune that I like, but I am not crazy about the singer or the lyrics. Kinda making a guess that you included this for the sax player though? That's one of the best parts of this, to me. That and the rhythm section.

I know what you mean. It's the only listenable track on the album, IMHO. I chose it for the song, and/or the feel. After learning the tune, I realized the feel I was so enamored with is actually George Coleman's Amsterdam After Dark. However, there is a good story which might get you onboard with the reveal.

Edited by Thom Keith
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Track 10 - Awesome. This is a great improvisation. Oddly, the repeated motif on its own isn't all that interesting to me, but whoever is playing this is doing a hell of a job building from it. Very cool. No guesses, but I love it.

As usual, you are correct on all counts.

Track 11 - Good grief man...just stop it, seriously. I don't know where you are pulling all of this stuff from...so much of this is my bag and you haven't shared it with me yet...what the hell dude? Well, okay, maybe you did share it with me but I forgot. Anyway...my guess on this one is Khan Jamal with Johnny Dyani. Dudu Pukwana on alto? I might be mistaken, but whatever it is, it kills and I need to hear more of it.

You're in the correct neighborhood, but choosing the wrong houses. This one also has a good story. You DO need this.

Track 12 - Wow, okay...honestly...I give. This is too much. Who in God's name is that tenor player? Good lord...I am not trying to be funny here, but really, I am running out of superlatives. I just need this right now. Un-friggin-believable. I got so excited listening to this I almost hurt myself.

Another guy who has had a strange career. He started one place, this is in the middle, and I have no idea what has become of him.

Track 13 - An interesting twist here, we are now in different territory...but in some ways, we aren't really. I like this a lot. Sounds like a tune I should be familiar with, or it is just a familiar-sounding tune. Damn...this is really beautiful. Wasn't expecting the sax to come in, that only adds to the magic of this one.

I've really expected more people to get the tune on this one. The players and the tune don't really sync up, but that's one of the reasons why I chose it. IMHO, the rest of the album is better than this tune, and again, you definitely want this.

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Thom, I'm stumped on all of these. Not having read anyone's answers yet, the only one I thought I knew was #4. It sounds like Coltrane, but the rhythm sections isn't one I am familiar with. I wonder if it is someone trying real hard to sound like Trane?

#7 I have this recording, but I don't recall who is on tenor or trumpet. Time to hunt through my collection to see if I can locate this.

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Despite my best intentions, I have once again waited until almost the end of the month before jumping in. As usual, I haven't read any of the above. Reading over my reactions, I see that I got a little crabby near the end. In spite of that tone, I enjoyed this BFT and am looking forward to the reveal.

1. I have a feeling that this is going to one of those kick-myself tracks – the tenor player sounds very familiar to me, but I can’t place him. But wow – this swings hard from the first note. Jazz with a capital “J.” Nice!

2. I recognized Benny Green and Elvin Jones more or less simultaneously. This is “B.G. Mambo” from Mr. Green’s Soul Stirring, with Jug and Billy Root on tenors and Sonny Clark at the piano (and Ike Isaacs on bass, just to make things complete). This is great – excellent playing all around. Elvin sounds very much like himself even at this stage – complex and swinging. I enjoyed this very much.

3. “My Secret Love;” I don’t know who’s playing it. It reminds me of Willis Jackson, but I don’t think it is. It’s just fine, but I must admit that I don’t like this approach – the rhythm section is not interacting with the melody and soloists; they’re playing a part. Part of what jazz is about is conversation among the musicians; there’s none of that here.

4. I don’t know what to say about this. My first thought was, “Wow – I didn’t know that Coltrane recorded “The End of a Love Affair.” But I can’t find any evidence that he did. My head hurts – what’s going on here? I’ll wait for an answer before saying anything else.

5. A tune that sounds familiar, but which I can’t place. Is it Mal Waldron? It sounds like him is spots – in other spots not so much. Anyway, it’s not earth-shatteringly beautiful or anything, but it’s individual and enjoyable.

6. Good stuff. Good solos from everyone – I particularly like the trumpet player’s spare approach. I have no idea who it is, or when it was recorded, except that it sounds like analog tape.

7. Someone got a little carried away with the stereo – “Let’s spread the instruments as much as possible between the speakers!” It’s “If Ever I Would Leave You,” of course. Nice long phrases from the trumpeter – I like his/her playing a lot. Great piano playing.

Later: I was so impressed with the familiar-sounding piano player that I poked around a little and figured out who this is. Since I “cheated,” I won’t say – maybe this has already been identified. Unexpected and impressive.

8. What a beautiful low-register sound from the trumpet (or flugelhorn?) player. The piece has a slightly unusual structure, but these musicians handle it well. I wish the tenor player hadn’t indulged in the now-cliché “strangled” altissimo passage. Other than that, very nice stuff.

9. Okay, this is personal thing. I’m not a fan of “jazz vocals.” This is well-done music that I didn’t care for at all. The soprano sax solo was good, but awfully slick and “professional,” like the rest of this.

10. This tenor player has an interesting, “hollow” sound. Again, he sounds familiar to me, but I can’t come up with a name. In any case, this is a totally sustained, coherent, and riveting five minutes of unaccompanied saxophone.

11. More good, personal playing. I like that the saxes really weren’t in tune, and didn’t care – I’m totally serious about that. But I probably didn’t appreciate this track as much as I should have - I’ll admit that by this point of the BFT I was suffering a little from post-bop fatigue. I was ready for some tubas and banjos, or alternatively, a screaming free-jazz freakout. But this was good.

12. Again, it’s probably just me, but this didn’t do much for me. After about the third Coltrane quote I was a little exasperated with the tenor player, and the piano and bass solos bored me. Probably just me. I did like the drum solo.

13. Okay, this is different. Don’t like the cello (or bass?) or sound. I was starting to get bored, though, until the tenor and drums came in. Then I got bored again. A nice little tune, but I wish they had done more with it.

Thanks, Thom, for putting this together.

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Despite my best intentions, I have once again waited until almost the end of the month before jumping in. As usual, I haven't read any of the above. Reading over my reactions, I see that I got a little crabby near the end. In spite of that tone, I enjoyed this BFT and am looking forward to the reveal.

Never apologize for reacting to music. I enjoyed (and always do) reading the reactions.

2. I recognized Benny Green and Elvin Jones more or less simultaneously. This is “B.G. Mambo” from Mr. Green’s Soul Stirring, with Jug and Billy Root on tenors and Sonny Clark at the piano (and Ike Isaacs on bass, just to make things complete). This is great – excellent playing all around. Elvin sounds very much like himself even at this stage – complex and swinging. I enjoyed this very much.

Ding! Ding! You are correct, sir!

3. “My Secret Love;” I don’t know who’s playing it. It reminds me of Willis Jackson, but I don’t think it is. It’s just fine, but I must admit that I don’t like this approach – the rhythm section is not interacting with the melody and soloists; they’re playing a part. Part of what jazz is about is conversation among the musicians; there’s none of that here.

That's not what they're calling it here, but I very much agree with your assessment regarding this entire album. Something about this track just makes me smile, though.

4. I don’t know what to say about this. My first thought was, “Wow – I didn’t know that Coltrane recorded “The End of a Love Affair.” But I can’t find any evidence that he did. My head hurts – what’s going on here? I’ll wait for an answer before saying anything else.

Precisely what I was hoping you'd say. :D

5. A tune that sounds familiar, but which I can’t place. Is it Mal Waldron? It sounds like him is spots – in other spots not so much. Anyway, it’s not earth-shatteringly beautiful or anything, but it’s individual and enjoyable.

Not Mal, but that has been the odds-on-favorite guess.

6. Good stuff. Good solos from everyone – I particularly like the trumpet player’s spare approach. I have no idea who it is, or when it was recorded, except that it sounds like analog tape.

Things that are true. This one is going to shock folks, I have a feeling.

7. Someone got a little carried away with the stereo – “Let’s spread the instruments as much as possible between the speakers!” It’s “If Ever I Would Leave You,” of course. Nice long phrases from the trumpeter – I like his/her playing a lot. Great piano playing.

Later: I was so impressed with the familiar-sounding piano player that I poked around a little and figured out who this is. Since I “cheated,” I won’t say – maybe this has already been identified. Unexpected and impressive.

Yeah... my take on this *exactly*!

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