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BFT 121 Discussion


Dan Gould

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1. Very nice opener. I've never heard this, and it strikes me as an uncommon blending of a spiritual feel, blues feel, and cool jazz ballad feel. Really nice sound quality too. This is one of the more interesting tracks on this BFT for me, and one of the few I couldn't find (yet)…

2. Well, I think I have heard this (may have owned it at one time, before I thinned the herd). I'd recognize that voice anywhere, as well as that Gibson Firebird solidbody guitar he played in his later years. The one and only CGB, doing a Louis Jordan classic, from "Sings Louis Jordan" on the Black & Blue label. Saw Gate live a couple of times, and he never disappointed.

3. Two tenors doing A-Train, and we get a little "Rhapsody In Blue" right out of the gate (and then another R.I.B. quote later in the solo). Nice "gypsy in my soul" quote too. A tenor with some honk, but at least on this recording he doesn't sound as hard-toned as some. Seems to like the mid-to-upper register of the horn. The thing that's puzzling me here is that there are two saxes playing the opening and closing themes, but only one guy seems to be soloing. No law against that, but it just strikes me as a little out of the ordinary. Not sure why this one is so hard to figure out.

4. "Don't Be That Way". The unmistakable sound of the great B.B. (not King) on guitar, also on the B&B label (hmmm…. a theme going here?). I remember when I got this recording, and being very happy and grateful to have it, but also regretful that the man's recorded output as a leader was so limited. At his best, there's no guitar player I would rather listen to than Billy.

5. "DNTYHFM". Didn't know who the bone player might be, but it sounded like Lockjaw on tenor. [Okay, based on what I know after listening to all the tracks here, and assuming this is on B&B too, and doing a bit of searching, I'm guessing this is Butler comping on guitar, Wild Bill Davis on organ, and Oliver Jackson on drums. That would leave the trombone to be Gene Conners, a name I will confess that I had never heard of until today. ]

6. "Mean To Me", trumpet and piano duet, which made it pretty easy to narrow down. Sweets and Fatha on B&B (yeah, definite theme!).

7. Know the tune, but don't know the name of the tune… dixieland style, not a style I know very well, so I'm bailing.

8. "Billie's Bounce". Interesting guitar tone and style here, which I can't say I recognize. Not sure I've heard this recording, but nice playing. After doing a bit of searching based on narrowing down the guitar players who appeared on B&B and their syles, this has got to be Lonnie Smith, Melvin Sparks and Alvin Queen, from "Lenox and Seventh".

9. "B&S". Another B&B label recording, Willis Jackson and Groove Holmes, live in France in 1980. Probably could not have identified this based on the playing alone.

10. "TWNBAY". As with A-Train above, this tune is such a popular blowing vehicle that I thought I'd find lots of versions on B&B. Not…… so much. Found a couple, but not with this instrumentation. Anyway, this tune has kind of been worn down for me, and this version didn't really do much for me.

11. "Sugar". Trying to figure out which B&B artist would have selected this "latter-day" (at the time) tune, and… I haven't found anything yet.

12. "Blues Abrupt", from "Ain't That Funk For You" (B&B). Al Grey, Arnett Cobb, Ray Byant, John Duke, J.C. Heard.

13. "Until The Real Thing Comes Along". Candy Johnson ("Candy's Mood", B&B), with Milt Buckner, CGB (interesting setting in which to find Gate!). Nice track!

14. Nice groove. Not often that piano and organ can co-exist so well on a recording (although it's happened a couple of times on this test!). Haven't been able to figure out this one either.

15. Dixieland style again… I'm out of my comfort zone.

16. Another one that I couldn't have identified without knowing it was on B&B. "He May Be Your Man" by Helen Humes. Not a singer I ever latched onto.

17. "Red Top". B&B. Cleanhead & Jay McShann. Anytime I don't get a vocal from Cleanhead, I feel like I should get a partial refund. ;) On the other hand, I didn't have to pay for this, so it's cool.

18. "Comin' Home Baby". Lockjaw Davis, of that I'm sure. Not sure if I have this one (I see now that I never did get around to buying this… it's on… wait for it… Black & Blue!). I do have a recording of him doing this tune several years later (same arrangement, except with piano) on an obscure Swiss (?) label. Anyway, I see on Discogs.com that they list this track as having Bill Doggett and Eddie Vinson present (??).

19. Lou Rawls, singing the theme song for this BFT. It's been quite awhile since I heard this. Never was a big Rawls fan, for some reason.

Well, DG, you were right that once the theme was established, the dominos would start falling. :) This turned into a new sort of BFT experience for me, and a fun one at that. I like to solve riddles almost as much as I like music, so it was fun to look through the B&B labelography (so to speak... in actuality I went to Amazon), listen to lots of online samples, and re-acquaint myself with some artists and tunes that I don't normally spend much time listening to. Thanks Dan. Now I'll be paying attention to see where the remaining mystery tracks came from, if I can't figure them out myself...

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Excellent sleuthing and nicely done Jim, especially since you poo-pooed the idea that a theme could make it possible for a lot or even most tracks to be ID'd. ;) One participant, and so many tracks knocked off - although I have to double-check because while you got the Al Grey recording right I thought I had went with a different track. Or maybe they renamed it for the CD but you recognized it on its original title? God I hope we don't have to get into that crap again. :g

Anyway I am surprised on one or two you didn't get but I'm sure others will.

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Determined not to be last (and/or caught by surprise by the end of the month) this time!

Track 1 - Given the test author, and the coolness of the blues, I’m going to bite and say Gene Harris, but no idea what it is.

Track 2 - Choo-Choo-cha-Boogie. Not Louis Jordan, obviously, but far less obvious who it actually is. I’d guess this recording is from the 70s or 80s. It’s fun, but doesn’t quite strike me as having the same message as something first gen.
Track 3 - Take the “A” Train. Not much in this for me. Sounds like blues guys covering a Jazz tune, but they sound out of their element to me.
Track 4 - That’s Lockjaw. Not sure what the record is, but reminds me of some of those early 70s Black Lion dates. Forget the name of this tune, but I know it.
Track 5 - Do Nothing ’Til You Hear From Me. Not sure who it is, but I’ve started taking my clothes off. Maybe Buster Cooper? I don’t think so, but certainly someone who has listened to him a lot. Could be Harold Ashby on tenor or even late Illinois. Or even a non-feature cameo from Lockjaw.
Track 6 - Mean To Me. No idea. Pleasant but my mind wandered.
Track 7 - I should know the tune, but can’t pin it down. Not folks I’m familiar with, but definitely a retro-style band. Could it be that Wynton guy? It *almost* works. What I mean by that is, these guys are definitely committed to what they’re playing, and that counts for a whole lot, but I’m not getting the gut-level reaction that I should (which is as much about me as it is anything I’m hearing).
Track 8 - Billie’s Bounce. No idea who it is. Sounds like one of the blues/jazz crossover guys (not Earland, but in that range). Hearing the organ solo has me thinking Groove Holmes. Something about the staccato attack in the bop lines. Smokin’ and rockin’ — both lending credence to the Groove Holmes guess. I’m guessing 80s due to the atrocious drum sound on the recording.
Track 9 - Tasty. Body and Soul a la… Brawny, beefy tone. Shades of Webster (obviously not him) and Ike Quebec… perhaps Plas? Beastly, and a very melodic, vocalistic approach. I need this. I’m really not a fan of people continuing to cover this, but if you’re going to, THIS is how to do it. Sensitive, but bold… purely musical. Totally digging this from start to finish. That cat he done told me… out there in the kitchen… that cat he done told me… (thank you, Tom & Jerry and Loony Tunes!) A little I Wish I Knew there in the out-chorus… nice touch.
Track 10 - There Will Never Be Another You. Initial impressions are not strong. Feel like I’m at a hockey game. I like the tenor player’s sound, but doesn’t strike me as a top-tier player. Bold sound, and very good technique, though at times seems to be playing maybe a hair beyond his technical comfort zone. I’m glad he showed up, because this has gotten a whole lot more enjoyable. Shades of Lockjaw, but no triplets… and doesn’t have ELD’s time. Seems like this is someone I should know, but I’m not able to pin him down. Piano player doesn’t do it for me. Hermann Foster?
Track 11 - Sugar, by whom I do not know. Not a player I’m familiar with. Sounds like a Texas guy or a blues guy. Not really feeling the rhythm section. Everything (all four guys) seem rhythmically off.
Track 12 - Piano had shades of Phineas during the intro. Liking the tenor here. Shades of Shepp without the harsh edge — more of an inside, blues player. Doesn’t sounds so gruff as someone like Arnett Cobb, but in that vein. Heavy on the Webster, like Harold Ashby, but an edgier tone than him. I need more of this. Seems to have too much sweetness in the tone to be Jimmy Forrest, but again, seems like I’m on the right street. I’m going to throw out a wild guess and say Jimmy Hamilton. By association and without confidence, I’ll guess Lawrence Brown on trombone. It’s more of knowing who it isn’t than who it is.
Track 13 - Some Ike Quebec in there, but not a player I know real well. Only I can think of that plays like this is not as old as this player, but I’ll throw out the guess, anyway, Ricky Ford?
Track 14 - Another big-toned player whom I don’t seem to know. Grrr!
Track 15 - Somebody doing their best Pops impression. Or, perhaps the man himself. :D
Track 16 - Sounds like Ella to me. This is cookin’. I want to say Ben Webster, but that upper register sounds more modern. The growls are pure Webster. A fun track.
Track 17 - Red Top (very perceptive, Keith). All I can come up with is who it ain’t. The least few have all been winners, but I’m striking out on identification. Curses! There’s a clue in that hum. Could that be Fatha Hines?
Track 18 - Comin’ Home Baby. That be Lockjaw. I believe this is from The Heavy Hitter.
Track 19 - Lou Rawls, baby! Callback to track 15. I believe this is from the album of the same title.
Lots of interesting stuff in here, Dan. I’m interested to find out about this avenue of Websteresque players — MUST… BUY… MORE… MUSIC!!!!!
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1 - Enjoyable but very unadventurous. The recording quality suggests that it is a modern recording (I'm guessing 80s or later). For what it is at least it's done well. 2 stars for lack of imagination

2 - Now this I like! Not sure who the guitarist is but he's playing a humbucker equipped guitar and getting a really cool sound. I'm goign to guess Clarence "Gatemouth" Brown. I've actually heard very little of his music but the tone of the guitar seems to make his name spring to my mind (along with the image of his cool gibson firebird guitar). The whole band is great on this one. 4 stars

3 - To me the piano player isn't supporting the soloist enough, he's too tame. Also the drummer almost seems caught off guard during the "trading fours" section and his first fill is quite lame. The sax player was really trying to build the intensity but the rhythm section weren't doing it for me I'm afraid. Also those whole tone parts on the piano on the third and fourth bars of the "A" became a bit tiresome by the end. 2 stars

4 - I like the guitarists touch and tone and the riff is kind of cool in it's simplicity. The guitar playing is nice but he's not really doing anything more than Charlie Christian already had which is fine for some I guess. Organ solo is alright but I'd rather hear those kind of block chords ring out nice and rich on a piano. Tenor player sounds similar to the previous track in terms of tone and also the R'n'B strain in his playing. 2 1/2 stars

5 - Another of Duke's songs. The tenor sax on the bridge is absolutely gorgeous. I find the organ comping a little brash but maybe that's just the nature of the instrument. Although I don't recall it ever annoying me on all those Wes Montgomery LPs with Melvin Rhyne. 2 1/2 stars I would lke to hear more of the tenor saxophonist.

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6 - I don't recognise either musicians here. Trumpet player sounds like he's a modern guy who also plays in older jazz styles also rather than an authentic pre-bebop soloist. I'm not a big fan of his slightly thin tone. I preferred the piano solo. 2 stars

7 - Aha! Black and Blue! Anyone who's familiar with Louis Armstrong's Hot Fives and Sevens should recognise this tune. I 'd enjoy it live but wouldn't buy a record of it. Not really doing it for me. 2 stars

8 - It's a Charlie Parker tune, Billie's Bounce I think. Guitarist reminds me a bit of Pat Martino but I don't think it's him. What's that drum fill at 4:31? I think I recognise it off a Max Roach unaccompanied solo on "Drums Unlimited". 3 stars

9 - To me this is ridiculously overdone, especially at the beginning. I'm not averse to those kind of breathy effects etc but this just seems to much. I haven't heard much Ben Webster but that seems to be something he does a lot also (although this isn't him) 2 1/2 stars

10 - Bass sounds horrible. I really liked the piano solo for some reason. The rest isn't doing it for me. I don't like this beat with snare played on the 2 unless it's done sparingly. Ah It's an electric bass that makes sense. 2 stars

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After looking at Jim R's responses to those tracks I just posted, it looks like I got 6 completely wrong! I'm not familiar with Harry "Sweets" Edison but he's an old swing musician isn't he! Actually after relistening I don't know why I thought he was a more modern guy. There's not really any bebop language there at all (maybe one or two licks). Maybe it's the thin (muted?) tone. I obviously wasn't paying enough attention :blush: .

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  • 2 weeks later...

I was generally aware of the Fats Waller song, "(What Did I Do To Be So) Black and Blue". Then I heard it sung in 1980 during a touring production of the Broadway show "Ain't Misbehavin'", and it really stuck with me. Shortly after that I picked up a Columbia LP, "Louis Armstrong's Greatest Hits", which had Louis singing it. I believe that this is the version which appears as Track #15 on this Blindfold Test. It was originally on the 1955 "Satch Plays Fats" album.

So when I heard more than one version of "(What Did I Do To Be So) Black and Blue" on this Blindfold Test, I knew that it had to be the theme. Dan told us that there was a theme.

Having said that, I am not very familiar with the Black and Blue label. This is a learning experience for me, which is a great thing about Blindfold Tests.

Dan, a weird thing you could have done is to have included "Melody" by the Rolling Stones, from their Black and Blue album. It is pretty jazzy.

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Having made my introductory remarks about the Black and Blue theme, I will now make my (lack of) guesses.

1. A nice solo piano version of "(What Did I Do To Be So) Black and Blue". This pianist has some chops in addition to blues feeling. I have no idea who it is.

2. This is Louis Jordan's "Choo Choo Ch' Boogie". To me, few artists who have covered Jordan's hits have captured his exuberance and compelling personality. I actually think that Asleep at the Wheel did a better cover version of this song.

I saw Clarence "Gatemouth" Brown live, so I recognize him here.

3. Take The A Train. The sax soloist is very bluesy, very soulful. I don't know who it is, but I like his solo a lot.

Last month I wrote this in my comments to the previous Blindfold Test:

"I wish more contemporary jazz ensembles would dive right into an overtly bluesy sound like this. Some of the better jazz groups of today play a sort of post-modern commentary on the blues, in which they tiptoe around the blues, abstracting it until there is no blues feeling left at all. Why do they do that? It almost seems like they are allergic to soulfulness."

That problem is not found on this Blindfold Test, for sure! This Blindfold Test is dripping with grease off the barbecue! (From a Kansas City guy like me, that is high praise).

4. Don't Be That Way. I really like the blues feeling of the organ and saxophone. The guitarist is quite good too. I have no idea who they are.

5. Do Nothing 'Til You Hear From Me. The muted trombone player knows his Duke's "jungle band" style. The tenor sax player reminds me of Harold Ashby. Another really compelling, blues-drenched performance, which I really like.

6. Mean to Me. A really good trumpet player, must be one of the masters. I am embarrassed that I can't name him. The pianist mixes in too much virtuoso wizardry in with the stride, for my taste--a more straight stride style would have served the performance better, in my opinion. But the pianist is undoubtedly excellent.

7. Another version of "(What Did I Do To Be So) Black and Blue." Here is another superior trumpet player, again--he must be one of the giants, and it is embarrassing that I cannot name him. What a strong personal voice on trumpet, what a compelling solo.

8. Billie's Bounce. I like all of the players and this performance. Again, I have no idea who it is.

9. Body and Soul, with a really breathy, deep in the soul, tenor sax player, who really likes Ben Webster. I wonder if this could be Harold Ashby, who I liked a lot. I saw Ashby's last live performance ever and saw him collapse onstage right after the concert.

10. There Will Never Be Another You. This is a perky, sprightly performance. The pianist is positively bubbling with good cheer. I find the bass solo rather mediocre by post-1950 bass soloing standards. Now watch, it will be a bassist who I generally really like. I have no idea who the organist or saxophonist are, but I like this performance very much.

11. Sugar. A very soulful version, really good. I don';t know who the organist or saxophonist are. I would like to get this version, if I don't already own it.

12, A very bluesy, soulful sax player. I love it. The pianist also has a lot of blues feeling, and technique beyond the blues.

13. Until the Real Thing Comes Along. A very bluesy, soulful sax player, just growling--great!

14. This is one of the few tracks on this Blindfold Test which I do not think is entirely successful. I think that the tempo is rushed, and the big band sounds a little corny. The sax soloist is fine though--big toned, gritty, soulful. I love the sound of the sax soloist.

15. Louis Armstrong, from his 1955 album 'Satch Plays Fats", singing "(What Did I Do To Be So) Black and Blue". The other musicians are Barney Bigard, Trummy Young, Billy Kyle, Arvell Shaw, Barrett Deems. I have always loved this version.

16. Helen Humes on vocal, I think. A very robust, soulful sax soloist. The guitar player could be a blues guitarist, not a jazz player. I think it is a compelling performance. I really like it.

17. Red Top. I don't know who the saxophonists are. I find the second sax soloist to be more compelling, with a stronger personal voice, than the first sax soloist. I am not entirely sold on the piano solo--I think he is all over the place, showing his chops, instead of fitting into the groove. I may be embarrassed when I find out who it is.

18. Coming Home Baby. Once again it has hit me how much the Spencer Davis Group hit, "I'm a Man", sung by Steve Winwood, owes to this composition. When I first heard this track, I thought to myself, "oh, that standard that sounds like 'I'm a Man' but isn't."

I really like the gritty soul of the sax soloist--I could listen to his playing all day.

19. Lou Rawls singing "(What Did I Do To Be So) Black and Blue". It's fine, not my favorite of all time but very good.

Dan, you gave me a great deal of enjoyment, and I can't wait to find out who all of these very soulful saxophone players are!

Edited by Hot Ptah
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Well it won't be long now HP, and I can say that Harold Ashby, while he recorded as a leader once for Black & Blue, does not appear in this BFT. Nice job though on song titles (way better than I ever am) and kudos for actually identifying the instrumental versions of "What did I do ..." which no one else actually did, I don't think.

Glad you enjoyed the discs and thanks for your comments.

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I haven't read the other replies so I may repeat what others have said.

#1 Gene Harris. "Black and Blue." Album by the same name. There's no mistaking his bluesy feel to his playing. Ron Eschete on guitar.

#2 Clarence "Gatemouth" Brown

#3 Don't known this one

#4 I like the guitar playing. Is it Eddie "Lockjaw" Davis on tenor?

#5 Do Nothing to you Hear from me. Don't know who is playing the bones. Tenor is also stumping me.

#6 Real clean trumpet player. Mean to Me. Don't know who is on piano

#7 I have this CD. Doc Cheatham and Nicholas Payton "Black and Blue."

#8 Billie's Bounce, but I don't know who is playing guitar. Someone that liked Grant Green.

#9 Body and Soul. Is this Ben Webster?

#10 There Will Never be Another You. Don't know who this is.

#11 "Sugar" Don't know who it is.

#12 Blues, but stumped on this one. One guess, Arnett Cobb?
#13 Someone playing Fats Waller's. Is it Gene Ammons? Sounds like him

#14 No clue

#15 That's Pops on trumpet. Another Fats Waller tune. "Blue Turning Gray Over You"

#16 I like this, but don't know who it is.

#17 "Red Top" Is it Eddie Cleanhead Vinson?

#18 No idea

#19 Lou Rawls "Black and Blue." Rawls started as a jazz singer.

Edited by Hardbopjazz
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I haven't read the other replies so I may repeat what others have said.

#1 Gene Harris. "Black and Blue." Album by the same name. There's no mistaking his bluesy feel to his playing. Ron Eschete on guitar.

#2 Clarence "Gatemouth" Brown

#3 Don't known this one

#4 I like the guitar playing. Is it Eddie "Lockjaw" Davis on tenor?

#5 Do Nothing to you Hear from me. Don't know who is playing the bones. Tenor is also stumping me.

#6 Real clean trumpet player. Mean to Me. Don't know who is on piano

#7 I have this CD. Doc Cheatham and Nicholas Payton "Black and Blue."

#8 Billie's Bounce, but I don't know who is playing guitar. Someone that liked Grant Green.

#9 Body and Soul. Is this Ben Webster?

#10 There Will Never be Another You. Don't know who this is.

#11 "Sugar" Don't know who it is.

#12 Blues, but stumped on this one. One guess, Arnett Cobb?

#13 Someone playing Fats Waller's. Is it Gene Ammons? Sounds like him

#14 No clue

#15 That's Pops on trumpet. Another Fats Waller tune. "Blue Turning Gray Over You"

#16 I like this, but don't know who it is.

#17 "Red Top" Is it Eddie Cleanhead Vinson?

#18 No idea

#19 Lou Rawls "Black and Blue." Rawls started as a jazz singer.

You are correct on 1, 2, 4, 7, 12, 17 and 19 but boy did you mess up the title of #15.

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I haven't read the other replies so I may repeat what others have said.

#1 Gene Harris. "Black and Blue." Album by the same name. There's no mistaking his bluesy feel to his playing. Ron Eschete on guitar.

#2 Clarence "Gatemouth" Brown

#3 Don't known this one

#4 I like the guitar playing. Is it Eddie "Lockjaw" Davis on tenor?

#5 Do Nothing to you Hear from me. Don't know who is playing the bones. Tenor is also stumping me.

#6 Real clean trumpet player. Mean to Me. Don't know who is on piano

#7 I have this CD. Doc Cheatham and Nicholas Payton "Black and Blue."

#8 Billie's Bounce, but I don't know who is playing guitar. Someone that liked Grant Green.

#9 Body and Soul. Is this Ben Webster?

#10 There Will Never be Another You. Don't know who this is.

#11 "Sugar" Don't know who it is.

#12 Blues, but stumped on this one. One guess, Arnett Cobb?

#13 Someone playing Fats Waller's. Is it Gene Ammons? Sounds like him

#14 No clue

#15 That's Pops on trumpet. Another Fats Waller tune. "Blue Turning Gray Over You"

#16 I like this, but don't know who it is.

#17 "Red Top" Is it Eddie Cleanhead Vinson?

#18 No idea

#19 Lou Rawls "Black and Blue." Rawls started as a jazz singer.

You are correct on 1, 2, 4, 7, 12, 17 and 19 but boy did you mess up the title of #15.

That's not the title of that tune? I have to go and pul out my Fats Waller and see what the title is.

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Well, here we go, in a bit of a hurry, because my missus will be back in an hour or so…

1 First thought was that this pianist has to be Ray Bryant; the left hand is so positive and the funkiness of the right, with its touches of Avery Parrish… well. But Bryant is a fairly straight player, but this guy is throwing in a good bit of strange stuff. For the same reason, I’m not going to guess Gene Harris. Or even Junior Mance.

But he’s bloody great! The further I get into this cut, the more I think that it actually MAY be Ray Bryant. I’ve not got any of his recordings after ‘All blues’, which was 1978. But I’ve read that his style continued to develop, so maybe…

2 Oh a nice shuffle on ‘Choo Choo Ch’boogie’. I think I OUGHT to know the tenor player but… need more listening.

3 ‘Take the A train’ played by someone who sounds more like Earl Bostic than John Coltrane (does).

4 Can’t think of the title of this tune I know well. The guitarist has a quite modern sound but the organist… pre-Wild Bill Davis even. Well, perhaps not, but the only guy I’ve heard with something like this sound is Jordin Fordin. Well, so it could be someone playing an organ that ain’t a B3. Fuck! Who’s that tenor player?!!! All the power (but not the finesse) of Illinois Jacquet.

5 ‘Do nowt ‘till you hear from me’ by a trombonist who MIGHT be Al Grey. And is that Jaws on tenor, playing nice and subdued? And that pianist from LA who often played organ. (And it could be him on #4.) Oh yes, Art Hillery. Don’t think it’s Jaws. Or Al Grey… unless he’s a sideman.

6 ‘Mean to me’ trumpet led with a nutty pianist behind. Did Monk ever record with Cootie? Or Earl Hines with Buck Clayton?

Well, whoever, I want to get #6 – and #5, #4, #3, #2 and #1. This is a damn fine programme Dan! One more cut then I’ll be walking the dog.

7 This sounds like Mrs Armstrong’s little boy. Another tune I know so well but can’t put a title to. Is this trumpet player #2 after the piano solo? Yes, two trumpet players.

8 ‘Cool blues’? By Jim Hall, or Barney Kessel or one of those LA guitarists? But with an organist? And an organist with several chops. Don Patterson, even. But not any Don Patterson album I’ve ever come across. Well, I give up. Not listening to nearly enough jazz to make sensible stabs at this.

9 Oh, here’s one I have. ‘Body and soul’ by Gator Tail. LURRRVELY!

Off we go wiv da dawg. Got soaked. So did he.

10 ‘There will never be another ewe’ played by groovy organist. And a great tenor player. And a pianist. Now a electronic bass solo. I reckon the pianist and organist are one and the same. And, since I don’t know this recording, I’m going to guess that it’s one of those white tenor players that records a lot for Concord. Scott something.

11 ‘Sugar’. Nice tenor player. All those tasteful growls put me in mind of Buddy Tate or Percy France.

12 Another well known tune I nearly recognise. I’d say that IS Al Grey on trombone. And Jimmy Forrest on tenor.

13 ‘Until the real thing comes along’ by another tenorist I almost recognise. I think I’ve got this recording, because I recognise some of the quotes. But damn me if I can finger it. Oh well, I’m damned; it’s Candy Johnson, the barely known ex-Doggett sax man, who later made a couple of albums

14 Another one I’ve got! But I don’t know what it is!

15 ‘What did I do to be so black and blue’. So long as a musician can play reasonably well, he can make something wonderful out of this song. And Mrs Armstrong’s lad can play reasonably well; his Okeh recording is wonderful indeed. But It’s not Louis, but someone taking him off very well.

16 Margie Day! Wow! No, Fluffy Hunter. Oh, I don’t know.

17 ‘Red top’ played by an alto player. Bet it’s Arthur Blythe.

18 Another I think I’ve got – ‘Comin’ home fast baby’ – but under a different title. Sounds like Jaws and Shirley as, almost, ever with a bass player.

19 ‘What did I do to be so black and blue’ again. I nearly recognise the singer. I don’t have too many albums by male jazz singers and I don’t think this is someone I’ve got, but someone I’ve heard a bit… Well.

A GREAT ride, Dan! Nearly every track a winner for me. Thanks very much for taking the trouble with me.

I’m not going to look at the discussion thread, as I want another listen on Saturday.

MG

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Concentrate now! I’m sure I can get some more of these musicians, rather than just enjoying the music. Eh, what am I saying?

1 Ah, listening on earphones, I can hear that there’s a guitarist in this now. The pianist is too good to be Ray Bryant, I think. I’m thinking of Oscar Peterson now, but I’ve heard very little of him. But he’s truly kicking ass out of this.

2 I just don’t recognise this singer at all. Fantastic band though! I’d guess New Orleans guys.

3 This altoist has all the hard sound of Earl Bostic, but a lot of his solo – the early parts - is much tenderer than I’ve ever heard Bostic play. The quotes are very Bosticky though. I’d LIKE it to be Bostic, but I don’t think it is.

4 Still can’t think of the title of this tune. I think the technology here is post seventies, so it’s a recent kinda guitarist, even though the organist sounds pretty old school. I’m still stumped here, in every way. The tenor man’s doing some nice Gator-type stuff.

5 Still no ideas about this.

6 It’s Sweets & Earl Hines!!!!! Well, I think so…

7 Oh, I see! It’s another version of ‘What did I do to be so black & blue”. There’s a certain wildness in the last trumpet chorus before the piano solo that puts me in mind of Roy Eldridge. And a certain hesitancy about trumpet player #2 that DOESN’T put me in mind of Louis Armstrong. But it all SOUNDS like the Armstrong All-stars.

8 Well, is it even ‘Cool blues’? Well, just played Lou Donaldson’s version of that tune and it ain’t this. So it’s some other bebop masterpiece. It does sound like Don Patterson, but I can’t track down a bebop masterpiece played by him in a trio setting that’s the right length. So maybe it’s Lou Bennett? With that French guitarist, whatshisname… Rene Thomas.

10 Thinking about this one again, there’s one Gene Harris album on Concord with Jack McDuff that I haven’t got. Well, it’s not from ‘Alley cats’ – another idea down the toilet… I reckon my first guess was better.

11 Second listen makes me think this isn’t one of the old hands but someone newish trying to emulate them.

12 Oh, I think I’ve got this now; the tune’s ‘Blues everywhere’, a Shirley Scott tune, and it’s from the Stash issue of the Grey/Forrest live at Rick’s session (despite it not sounding live; I think the applause has been cut off.)

14 I’ve listened to hundreds of tracks, trying to track this down but I just can’t find it. Aha! Sudden thought that it ain’t as old as I’ve been looking for it. Went to make a cuppa and thought, ‘it sounds like an Eddie Chamblee line – maybe it’s from his Black & Blue stuff.’ And it is! It’s ‘Gone’ from ‘Blowin’ in Paris’ CD. Not sure what the original issue on LP was called. Phew!

16 Helen Humes is my latest thought on this one; late forties/early fifties. Honestly, I'd prefer it if it was one of Fluffy Hunter's rude recordings.

No new ideas about the rest. Three versions of 'Black and Blue' has me foxed.

But it's a really nice BFT.

Wham Bam, thank you Dan!

Now I'll look at what everyone else has said.

MG

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Well, stap me vitals! I never got your theme, Dan. Well, I didn't know you'd got a theme in the first place, being late.

If I'd cottoned on, I might have got a few more. Like the Lonnie Smith/Alvin Queen/Mel Sparks, which I've got. Damn, those old bebop masterpies all sound alike!

:D

MG

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Well, here we go, in a bit of a hurry, because my missus will be back in an hour or so…

1 First thought was that this pianist has to be Ray Bryant; the left hand is so positive and the funkiness of the right, with its touches of Avery Parrish… well. But Bryant is a fairly straight player, but this guy is throwing in a good bit of strange stuff. For the same reason, I’m not going to guess Gene Harris.

This would be unfortunate. Tom had no such hesitation.

3 ‘Take the A train’ played by someone who sounds more like Earl Bostic than John Coltrane (does).

The leader is definitely closer to Bostic. If anyone cared about the 'theme' and did a little digging I'd think this would have been figured out by now.

9 Oh, here’s one I have. ‘Body and soul’ by Gator Tail. LURRRVELY!

This is one I figured you'd have or recognize. Definitely chose it with you in mind.

10 ‘There will never be another ewe’ played by groovy organist. And a great tenor player. And a pianist. Now a electronic bass solo. I reckon the pianist and organist are one and the same. And, since I don’t know this recording, I’m going to guess that it’s one of those white tenor players that records a lot for Concord. Scott something.

Not Scott Hamilton, but there might be a clue in your suspicion that the organist and pianist are one and the same. Here's a hint: he's much better known for organ.

11 ‘Sugar’. Nice tenor player. All those tasteful growls put me in mind of Buddy Tate or Percy France.

Nicely done ... now if someone would find the Black & Blue release that Percy France is on ...

13 ‘Until the real thing comes along’ by another tenorist I almost recognise. I think I’ve got this recording, because I recognise some of the quotes. But damn me if I can finger it. Oh well, I’m damned; it’s Candy Johnson, the barely known ex-Doggett sax man, who later made a couple of albums

Nicely done again, I believe Jim R. got this through some Black & Blue sleuthing but you got this through your ears ...

15 ‘What did I do to be so black and blue’. So long as a musician can play reasonably well, he can make something wonderful out of this song. And Mrs Armstrong’s lad can play reasonably well; his Okeh recording is wonderful indeed. But It’s not Louis, but someone taking him off very well.

I'm not sure what is more surprising, folks who haven't ID'd Pops or those who think it's someone impersonating him. To me this is one of his most recognizable recordings.

17 ‘Red top’ played by an alto player. Bet it’s Arthur Blythe.

Um ... no.

Thanks MG for all of your thoughtful comments. Spending an hour emailing MP3s was well worth it for me!

Edited by Dan Gould
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12 Oh, I think I’ve got this now; the tune’s ‘Blues everywhere’, a Shirley Scott tune, and it’s from the Stash issue of the Grey/Forrest live at Rick’s session (despite it not sounding live; I think the applause has been cut off.)

Nope - it is Al Grey though. Now that you know the theme I suspect you'd nail this one down.

14 I’ve listened to hundreds of tracks, trying to track this down but I just can’t find it. Aha! Sudden thought that it ain’t as old as I’ve been looking for it. Went to make a cuppa and thought, ‘it sounds like an Eddie Chamblee line – maybe it’s from his Black & Blue stuff.’ And it is! It’s ‘Gone’ from ‘Blowin’ in Paris’ CD. Not sure what the original issue on LP was called. Phew!

Correct.

16 Helen Humes is my latest thought on this one; late forties/early fifties. Honestly, I'd prefer it if it was one of Fluffy Hunter's rude recordings.

Humes but not of that vintage.

MG

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11 (Sugar) = http://home-suite.blog.ocn.ne.jp/home_suite/2009/12/post_582d.html

Rene Thomas was Belgian. :)


3 ‘Take the A train’ played by someone who sounds more like Earl Bostic than John Coltrane (does).

The leader is definitely closer to Bostic. If anyone cared about the 'theme' and did a little digging I'd think this would have been figured out by now.

I cared, and did more than a little digging, and couldn't find any matches. Gonna try again...

Edited by Jim R
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Sh!t!!! I knew that tenor sounded like an alto. :rolleyes:

#3 is Louis Jordan: http://www.cduniverse.com/search/xx/music/pid/1044050/a/i+believe+in+music.htm

"Irv Cox" on tenor... ?

Damn! I got that Jordan a few weeks ago. Have only listened a few times. Funny, I was thinking of putting one of the other tracks ('Something for Fred') into my BFT next month, but decided I'd let it stew for a year or two.

MG

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12 Oh, I think I’ve got this now; the tune’s ‘Blues everywhere’, a Shirley Scott tune, and it’s from the Stash issue of the Grey/Forrest live at Rick’s session (despite it not sounding live; I think the applause has been cut off.)

Nope - it is Al Grey though. Now that you know the theme I suspect you'd nail this one down.

MG

Wrong tune. It's 'Blues abrupt' with Arnett. Oh well, can't win 'em all.

I did better with this one than usual :D

MG

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