fent99

Blindfold Test 124 Discussion Thread

26 posts in this topic

Links now sent out and I hope they work since its been a wee bit tricky. No theme unless its subconscious. Just music that's been on my stereo in the last while and I'd like to see what you guys might think as much as if you know it... Thanks for the interest and sorry its a wee bit late!

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Much to listen to yet, but wanted to weigh in. Last track sounds like a big band version of Leon Thomas doing Horace Silver's "Song for My Father". Not the version from 'Spirits Known and Unknown' I grew up with.

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What an interesting BFT!

1 Trumpet, bells, piano and harp! Then soprano sax and cymbals. A very atmospheric piece; funereal.

2 Brubeck-ish tune. The bass player sounds like the leader, with a long solo, but then it becomes clear as the pianist’s support gradually turns into a solo, rather in the way some MJQ cuts developed. I’m getting a bit of a Clare Fischer feeling about this. I never pursued his work after ‘Great white hope’; maybe a mistake. I like this a lot. Definitely music to live with.

3 A piano trio, but not behaving much like a piano trio. I don’t like the sound of the piano much – it’s rather clangy. But otherwise, this is more music to live with.

4 Alto sax and piano. I should really like to say the sax player is Earl Turbinton – he played very much like this (but unaccompanied) at Professor Longhair’s funeral - but I’m afraid it ain’t. Very interested to see who this is.

5 Piano with strings! Don’t hear too many strings on BFTs. I can see why someone would like this – there’s a lot of interest in the way the tune goes, the way it’s arranged and the solos. But I can’t say it’s for me; too clever.

6 Guitar and bass, with a quiet assist from a drummer. As in 2, the bass player gets the first bite. But seems to me the drummer’s the real star of the guitar solo. That’s not to say the guitarist is bad – he’s damn good. But it’s like he doesn’t really mean it, flitting from one melodic mood to the next. At four minutes, I could really do with a sax solo, straight and from the heart, but I get a load of applause and a bass solo. OK, more applause at 6 minutes and more guitar, then the drummer takes the lead. He must have drowned the audience in sweat! But they liked it.

7 A tuba! And a bass! Is it an alto sax and violin? Can’t say I find the tune very attractive. In fact, the more of this I hear, the more I think that the only one who’s got a real thing together is the tuba player. No that’s not true; he’s the only one whose thing I like.

8 Starts off as if it’s going to be a Bobby Timmons piece. Then it turns into something else a bit like Duke Pearson might play/write. Another one I like. More music to live with. This BFT is looking expensive.

9 After a slow intro that had me thinking about the sound of Freddie Hubbard, this jumps into a Latin-ish groove in which even the improvised passages sound (competently) arranged. Definitely not for me.

10 Nice players; nice ideas, but it just doesn’t seem to flow as much as I feel the musicians really want it to. When the backing vocalists come in it gets a lot more flow into it. I like the last minute and a quarter much more than the first three.

11 That pianist is ALL over that piano. Oh and there’s a familiar lick to the tune that I can’t quite put a handle to. Smashing use of the sustain pedal you seldom hear in jazz. Most pianists so much want to make each note count that they’re very light on sustain. Junior Mance uses it occasionally at climactic points; so (and more frequently) does Les McCann. Here, it produces something like a Phil Spector effect. Cor! This cut is something I admire greatly rather than like very much.

12 You really like textural effects, don’t you? This one’s even more textural than some of the others. So much so that it seems as if it’s done for its own sake.

13 “A child is born’ by a guitar, vibes, bass, drums band. Plus a trumpet  Very nice. I’m not familiar with any of these players but I’m going to guess at a Gary Burton group.

14 “Song for my father’ sung. I heard Leon Thomas sing this on his first album and thought that, like so many Horace Silver tunes, the words left so much to be desired. They should have got Teddy Edwards to write them – now there was a poet! I don’t know who this singer is but he’s heard Leon Thomas’ version.

Well, a great deal of interest in this BFT. And a few things I’m feeling I’ve got to get into and spend some money. Oh well, that’s life, I guess. Thanks a lot for the ride, Guv; it was good.

MG

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Much to listen to yet, but wanted to weigh in. Last track sounds like a big band version of Leon Thomas doing Horace Silver's "Song for My Father". Not the version from 'Spirits Known and Unknown' I grew up with.

Cheers John

Its not Leon Thomas though sounds pretty like him. I've never heard that version though. Its a great tune though and included as a tribute to Horace

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What an interesting BFT!

Thanks MG, I'll take that as a compliment. Fuller responses tonight but I do like textures, interesting instrumentation (tuba!) and good arrangements.

Regarding 14; as noted above it's not Leon Thomas though they acknowledge him in the liners. Going to have to get that album! Think that these discussions will make me spend more money too...

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What an interesting BFT!

1 Trumpet, bells, piano and harp! Then soprano sax and cymbals. A very atmospheric piece; funereal.

Not sure about funereal but it is the last piece in the sequence and lots of atmosphere

2 Brubeck-ish tune. The bass player sounds like the leader, with a long solo, but then it becomes clear as the pianist’s support gradually turns into a solo, rather in the way some MJQ cuts developed. I’m getting a bit of a Clare Fischer feeling about this. I never pursued his work after ‘Great white hope’; maybe a mistake. I like this a lot. Definitely music to live with.

Hear what you are saying about the tune, and its something I've maybe played more than anything else since I discovered it. Not familiar with Fischer so could be close to the mark, can't say

3 A piano trio, but not behaving much like a piano trio. I don’t like the sound of the piano much – it’s rather clangy. But otherwise, this is more music to live with.

I love this too despite or maybe because of the sound esp of the bass (hint). Been listening to the composer a lot ,not always jazz tho'

4 Alto sax and piano. I should really like to say the sax player is Earl Turbinton – he played very much like this (but unaccompanied) at Professor Longhair’s funeral - but I’m afraid it ain’t. Very interested to see who this is.

I like duets like this Archie Shepp did a number of albums with piano (Waldron or Parlan) but this is much more recent and closer to home than that

5 Piano with strings! Don’t hear too many strings on BFTs. I can see why someone would like this – there’s a lot of interest in the way the tune goes, the way it’s arranged and the solos. But I can’t say it’s for me; too clever.

Not enough strings for sure in these BFTs. Definitely in the arrangement for me and the sound of it alltogether

6 Guitar and bass, with a quiet assist from a drummer. As in 2, the bass player gets the first bite. But seems to me the drummer’s the real star of the guitar solo. That’s not to say the guitarist is bad – he’s damn good. But it’s like he doesn’t really mean it, flitting from one melodic mood to the next. At four minutes, I could really do with a sax solo, straight and from the heart, but I get a load of applause and a bass solo. OK, more applause at 6 minutes and more guitar, then the drummer takes the lead. He must have drowned the audience in sweat! But they liked it.

A guitar led gig and though everyone is great the drummer was the star so a good spot MG

7 A tuba! And a bass! Is it an alto sax and violin? Can’t say I find the tune very attractive. In fact, the more of this I hear, the more I think that the only one who’s got a real thing together is the tuba player. No that’s not true; he’s the only one whose thing I like.

A great sax player leads this but maybe not his best record. Do love the tuba though. Its a classic tune if not that attractive

8 Starts off as if it’s going to be a Bobby Timmons piece. Then it turns into something else a bit like Duke Pearson might play/write. Another one I like. More music to live with. This BFT is looking expensive.

Definitely a pianist with music to live with. Another new favourite of mine which I'm still digging into and I'm sure others on the board will urge me to other recordings

9 After a slow intro that had me thinking about the sound of Freddie Hubbard, this jumps into a Latin-ish groove in which even the improvised passages sound (competently) arranged. Definitely not for me.

There's a story to why this is in (like most of the tunes/performances) and up for air too.

10 Nice players; nice ideas, but it just doesn’t seem to flow as much as I feel the musicians really want it to. When the backing vocalists come in it gets a lot more flow into it. I like the last minute and a quarter much more than the first three.

A story here too, and maybe I needed a second opinion!

1 That pianist is ALL over that piano. Oh and there’s a familiar lick to the tune that I can’t quite put a handle to. Smashing use of the sustain pedal you seldom hear in jazz. Most pianists so much want to make each note count that they’re very light on sustain. Junior Mance uses it occasionally at climactic points; so (and more frequently) does Les McCann. Here, it produces something like a Phil Spector effect. Cor! This cut is something I admire greatly rather than like very much.

You 'might' know the tune and it was the only jazz performance hiding in a tribute album, bass player may also be more familiar than you think

12 You really like textural effects, don’t you? This one’s even more textural than some of the others. So much so that it seems as if it’s done for its own sake.

I picked this up in a sale and liked it more than I thought. Going to see him in a couple of weeks so that might show his true mettle.

13 “A child is born’ by a guitar, vibes, bass, drums band. Plus a trumpet  Very nice. I’m not familiar with any of these players but I’m going to guess at a Gary Burton group.

Led by Guitar and Trumpet rather than the vibes so not Burton though I like his records too and the soft style is similar. Never heard the vibes player on anything else but think he's more of a fusion player

14 “Song for my father’ sung. I heard Leon Thomas sing this on his first album and thought that, like so many Horace Silver tunes, the words left so much to be desired. They should have got Teddy Edwards to write them – now there was a poet! I don’t know who this singer is but he’s heard Leon Thomas’ version.

As noted above a bit of a homage to Leon Thomas and Horace Silver I love the song though and never tire of it. I hear you on the lyrics though, poetry it ain't. Love the sentiment...

Well, a great deal of interest in this BFT. And a few things I’m feeling I’ve got to get into and spend some money. Oh well, that’s life, I guess. Thanks a lot for the ride, Guv; it was good.

MG

Thanks MG! Glad you enjoyed some or indeed any of it. A lot of my listening is in isolation and I do sometimes wonder if the thing I'm enjoying is something anyone else would be enjoying. Cheers!

Edited by fent99

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One of the loveliest BFTs in recent memory.

1 -- In the afternoon stillness, a summer breeze blows gently over the field where the harmon mutes grow. Good crop this year. But seriously folks. This one's all about the composition and the textures. And for once, the harp and the bells aren't overkill. The lower notes on the harp are so beautiful.

2 -- A very Evans-y trio, and I mean that in the best way. This is how it was originally meant to work, three individuals on an equal footing. The drummer's dance with brushes is what I like to hear.

3 -- Haunting composition. They don't throw much "jazz" on it, and that's a wise decision. It's very satisfying exactly this way.

4 -- Alto and minimal piano. Marion Brown?

5 -- The beginning sounds very Aaron Copland-ish. Then the percussion kicks in (cajon?) and it seems like it might be a Guillermo Klein thing.

6 -- Nice Metheny-influenced guitar. It isn't Pat, but I like the way this player thinks.

7 -- This one I recognize right off:
http://en.wikipedia.org...Monk


More later.

'Til then, I want to stake a partial claim on Track 11. It's that darned Nick Drake song I can never remember the name of.

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So, not Clare Fischer then on #2?

Well, yet another bad guess :D

MG

Not a bad guess, pretty much contemporaries, with some similar influence according to wiki

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One of the loveliest BFTs in recent memory.

Thanks!

1 -- In the afternoon stillness, a summer breeze blows gently over the field where the harmon mutes grow. Good crop this year. But seriously folks. This one's all about the composition and the textures. And for once, the harp and the bells aren't overkill. The lower notes on the harp are so beautiful.

Nice impression. The source inspiration intrigued me but I find I've gone back to this again and again...

2 -- A very Evans-y trio, and I mean that in the best way. This is how it was originally meant to work, three individuals on an equal footing. The drummer's dance with brushes is what I like to hear.

Yes Evans-y but also not like him at all. A great trio with a bass player Evans played with too adding to the link.

3 -- Haunting composition. They don't throw much "jazz" on it, and that's a wise decision. It's very satisfying exactly this way.

Its the composition that sends me back to this tune and made me dug it out from the album it's from... Not always so jazzy from the composer either and my favourite reading might be the composer in duet with this bass player...

4 -- Alto and minimal piano. Marion Brown?

Loving the thoughts on this, you might be more familiar with the pianist but its not Marion Brown...

5 -- The beginning sounds very Aaron Copland-ish. Then the percussion kicks in (cajon?) and it seems like it might be a Guillermo Klein thing.

Yes I hear the copland voice but a London based band... Guillermo Klein might be another thing I may have to look for if it sounds like this, not even a name I know.

6 -- Nice Metheny-influenced guitar. It isn't Pat, but I like the way this player thinks.

Aren't a great many guitarists influenced by Pat? I don't always like how those he's influenced think (or even how Pat thinks, though I can appreciate he's really talented!) Another European with a big name US drummer in this trio

7 -- This one I recognize right off:

http://en.wikipedia.org...Monk

Bang on! Thought this wouldn't be long.

More later.

'Til then, I want to stake a partial claim on Track 11. It's that darned Nick Drake song I can never remember the name of.

Absolutely right on the Nick Drake tune too!

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#7 is Thelonious Monk's composition "Light Blue", from Arthur Blythe's early 1980s Columbia album "Light Blue". Joining Arthur are Bob Stewart-tuba, Kelvyn Bell-guitar, Abdul Wadud-cello, Bobby Battle-drums.

I loved the Arthur Blythe Columbia albums as they were coming out. To me, as each one was released, it was an event. I would buy each one the first day that I could find a copy. It is a real shame that some of them are not available on CD, including this album. Also, the very accessible and fun "In The Tradition" is not available on CD, to my knowledge.

I wrote to Mosaic recently suggesting that they release a box set of Arthur Blythe's Columbia albums. They have not responded to me yet.

I saw Kelvyn Bell live in early 1982 in a small club as he was playing with Defunkt. Trombonist Joseph Bowie was the leader of that group. I don't think that group was ever adequately captured on recordings. Their live performance was amazing, and quite fun. Bell played wild and excellent guitar.

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I need to go back and hear those Blythe Columbia LPs again, thanks for the reminder. Carry on!

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#7 is Thelonious Monk's composition "Light Blue", from Arthur Blythe's early 1980s Columbia album "Light Blue". Joining Arthur are Bob Stewart-tuba, Kelvyn Bell-guitar, Abdul Wadud-cello, Bobby Battle-drums.

I loved the Arthur Blythe Columbia albums as they were coming out. To me, as each one was released, it was an event. I would buy each one the first day that I could find a copy. It is a real shame that some of them are not available on CD, including this album. Also, the very accessible and fun "In The Tradition" is not available on CD, to my knowledge.

I wrote to Mosaic recently suggesting that they release a box set of Arthur Blythe's Columbia albums. They have not responded to me yet.

I saw Kelvyn Bell live in early 1982 in a small club as he was playing with Defunkt. Trombonist Joseph Bowie was the leader of that group. I don't think that group was ever adequately captured on recordings. Their live performance was amazing, and quite fun. Bell played wild and excellent guitar.

Thought this would be spotted pretty quickly as noted above. Think there's something in the mix of instruments especially with the tuba that really works for me. Went through a phase of being a wee bit bored of Monk after OD'ing on the big Riverside box. Over that now I'm pleased to say

I've kept an eye out for Bob Stewart appearances since seeing him live with Don Cherry in the 80's. After this BFT I might start a thread about his sideman appearances, since he brings something extra whenever he plays.

A box of these albums on CD would be great, I'd heard that Lennox Avenue Breakdown was the only one worth listening to but this record proves that's far from the case...

I need to go back and hear those Blythe Columbia LPs again, thanks for the reminder. Carry on!

Could do with reappraisal. Bit like the recent thread on Freddie Hubbard's Columbia albums...

Have they been discussed here before?

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The Arthur Blythe Columbia albums are all very much worth hearing, with the possible exception of "Put Some Sunshine In it", which was a purely commercialized album forced on him by Columbia. (I liked the title of the Village Voice feature story on that album, which was "Desperately Seeking Sunshine", a play on words on the title of a popular film of that time, "Desperately Seeking Susan.") Back then an Arthur Blythe new album release would be given a full feature story in the Village Voice.

The other Blythe Columbias range from very good to great, in my opinion. In The Tradition, Illuminations, Lenox Avenue Breakdown, Blythe Spirit, and Elaborations are all especially outstanding, in my opinion.

As you look for Bob Stewart sideman albums, don't forget his stellar work anchoring Lester Bowie's Brass Fantasy. I remember Lester shouting approvingly onstage, "Bob Stewart--lungs of steel!"

Edited by Hot Ptah

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The Arthur Blythe Columbia albums are all very much worth hearing, with the possible exception of "Put Some Sunshine In it", which was a purely commercialized album forced on him by Columbia. (I liked the title of the Village Voice feature story on that album, which was "Desperately Seeking Sunshine", a play on words on the title of a popular film of that time, "Desperately Seeking Susan.") Back then an Arthur Blythe new album release would be given a full feature story in the Village Voice.

The other Blythe Columbias range from very good to great, in my opinion. In The Tradition, Illuminations, Lenox Avenue Breakdown, Blythe Spirit, and Elaborations are all especially outstanding, in my opinion.

As you look for Bob Stewart sideman albums, don't forget his stellar work anchoring Lester Bowie's Brass Fantasy. I remember Lester shouting approvingly onstage, "Bob Stewart--lungs of steel!"

Bob Stewart is also on Arthur Blythe's 2002 Savant album 'Exhale'. I should have thought a bit more about who plays with tuba players :D

MG

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No peeking. I listened to this as I conquered a power nap, then listened for real. Lots to like here.

1 - Everything about this could qualify as overdoing it, but this just *works*. Has that trance-like feel of Horace Tapscott’s Aiee! The Phantom. The bells really bring a level of complexity that makes this over-the-top interesting. The piano is providing the base for the tune and gives some body to the unemployment stick taking the lead. My guess, due mostly to the instrumentation, is a Japanese band (maybe Sleepwalker?). This is an absolute keeper. I hope the whole test is like this.

2 - Quirky and choppy, but it’s interesting. Sort of Brubeckian, but without the handcuffed piano style. I like the bass solo a lot, but that’s nothing new. Seems like a modern group trying to capture that Bill Evans Trio feel (and doing a nice job of it). No guess, but I like it.
3 - Very Coltraney feel to me. Reminiscent of Crescent. I like this a lot, but I have no idea who this is.
4 - I really feel like I know who this is. It reminds me a lot of the Heinz Sauer recording with Michael Wollny. Saxophonist has touches of late Art Pepper mixed in with a lot of the new style approach. He’s a touch sloppy at times, which I prefer and appreciate. The only thing kind of missing is the occasional flubbed, out-of-place, bebop line. Makes me think it’s a European player. Still, I like this, overall.
5 - Hmm… This needs to get dark pretty quickly or it’s going to lose me. There we go.
Sounds very soundtracky. Yeah, this isn’t really doing it for me. Hugh Ragin has some stuff like this, and that does it for me. This seems too fragmented.
6 - Another quirky one. This is the type of thing that’s fun to see, but not sure how much I’d play it at home. Has almost a blue grass tinge to it. I’m in for the bass solo, again.
7 - Well, there’s Arthur Blythe, so you have me. Bob Stewart, too? It’s Monk’s Light Blue from this.
8 - Good start! Reminds me of those fantastic Muse dates with Cecil McBee. Tune is very familiar. Has a little bit of Under Paris Skies going for it, but that’s not it. Recording is pretty horrid, but even so, I like the snappiness of the drums (3/4 always makes it work for me). Not crazy about what the bass is doing echoing the stiff piano comping, but still, it’s working. Good ol-fashioned quality Jazz playing to my ear. No idea who this is, but I could hear this a few times, for sure. Damnit, what IS that song!?!?
9 - This is slow to start, but the two horns blend very nicely when the main theme comes in. Almost strikes me as a modern reworking of Shorter’s Deluge. Is that Kenny Garrett? Tone seems a little sterile to be him, but the ideas are there. Not sure… I think I like it, but I’m not sure how it would hold up on repeated listening. No idea who the trumpet player is.
10 - Interesting, would be fun to see live, but not something I’d spend much time with. Not a clarinet guy, but otherwise, I like the instrumentation (even that horrific electric fretless). When the vocals come in, this steps up quite a bit. This stuff sort of strikes me as the evolution of the Return to Forever stuff, but I probably have that backwards.
11 - Strummed piano, bass… I’m going to like this. Feels very Ibrahim, already. Oh yeah, at 1:30, I’m all in. It’s not Ibrahim, but it’s every bit as nice. Am I sensing the hidden theme that some of these songs are reworkings of other tunes? This tune seems very familiar, but different. Man, I miss playing with piano players.
12 - Oh! 20 seconds and I’m totally in. Man, that breathy trumpet is gorgeous! Man, I HAVE to possess this! No idea what this is, but does it ever WORK! This is a lot more modern than most of the stuff that grips me, but man, am I ever in the grips of THIS! I may just listen to this all night! Oh man… PLEASE PM me the answer for this one. I need to have this yesterday!
13 - Bass, vibes and brushes… I’m going to love this. A Child Is Born. No idea who (guitar is not my forte). Not picking up who the trumpet is, but could be Eddie Henderson (something about the attack). No, not Eddie. No idea, but very nice.
14 - Song For My Father. Not sure about the vocalist. For obvious reasons, I want to say Leon Thomas, but the voice isn’t deep enough. It could actually be Bobby McFerrin. Not sure who that alto is. Very strange sound, but a modern player based on the copious licks. No idea who this is, but glad to hear somebody carrying on that Leon Thomas thing.
Much love in this BFT for me! Thank YOU!

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No peeking. I listened to this as I conquered a power nap, then listened for real. Lots to like here.

1 - Everything about this could qualify as overdoing it, but this just *works*. Has that trance-like feel of Horace Tapscott’s Aiee! The Phantom. The bells really bring a level of complexity that makes this over-the-top interesting. The piano is providing the base for the tune and gives some body to the unemployment stick taking the lead. My guess, due mostly to the instrumentation, is a Japanese band (maybe Sleepwalker?). This is an absolute keeper. I hope the whole test is like this.

Loving the reaction to this, giving me lots of recs to buy some more music... Nobody guessed it so far and I don't know enough about his output to say if its tpical or not.

2 - Quirky and choppy, but it’s interesting. Sort of Brubeckian, but without the handcuffed piano style. I like the bass solo a lot, but that’s nothing new. Seems like a modern group trying to capture that Bill Evans Trio feel (and doing a nice job of it). No guess, but I like it.
Great ensemble playing (and bass). Not modern since its at a similar time to some classic Bill Evans Trio sides on Riverside but might be too much of a clue
3 - Very Coltraney feel to me. Reminiscent of Crescent. I like this a lot, but I have no idea who this is.
Getting much warmer, though I'm not sure you're thinking of the 'right' Coltrane :w
4 - I really feel like I know who this is. It reminds me a lot of the Heinz Sauer recording with Michael Wollny. Saxophonist has touches of late Art Pepper mixed in with a lot of the new style approach. He’s a touch sloppy at times, which I prefer and appreciate. The only thing kind of missing is the occasional flubbed, out-of-place, bebop line. Makes me think it’s a European player. Still, I like this, overall.
Yes, definitely a European and a name unknown to me before I saw this duo play live, nice sound though
5 - Hmm… This needs to get dark pretty quickly or it’s going to lose me. There we go.
Sounds very soundtracky. Yeah, this isn’t really doing it for me. Hugh Ragin has some stuff like this, and that does it for me. This seems too fragmented.
I too prefer darker material, you'll need to tell me about Hugh Ragin, another name I don't know...
6 - Another quirky one. This is the type of thing that’s fun to see, but not sure how much I’d play it at home. Has almost a blue grass tinge to it. I’m in for the bass solo, again.
Good call since its a gig I attended, I take it you play bass?
7 - Well, there’s Arthur Blythe, so you have me. Bob Stewart, too? It’s Monk’s Light Blue from this.
Correct. Should have known these albums would be well known around here. Until a friend started talking about them I'd never heard of them!
8 - Good start! Reminds me of those fantastic Muse dates with Cecil McBee. Tune is very familiar. Has a little bit of Under Paris Skies going for it, but that’s not it. Recording is pretty horrid, but even so, I like the snappiness of the drums (3/4 always makes it work for me). Not crazy about what the bass is doing echoing the stiff piano comping, but still, it’s working. Good ol-fashioned quality Jazz playing to my ear. No idea who this is, but I could hear this a few times, for sure. Damnit, what IS that song!?!?
Not the best recording I'll agree but the playing more than makes up for it. Sure you'll know the player but its not on Muse (that would likely sound better!) nor with McBee
9 - This is slow to start, but the two horns blend very nicely when the main theme comes in. Almost strikes me as a modern reworking of Shorter’s Deluge. Is that Kenny Garrett? Tone seems a little sterile to be him, but the ideas are there. Not sure… I think I like it, but I’m not sure how it would hold up on repeated listening. No idea who the trumpet player is.
Trumpet is the leader and more europeans so not Garrett.
10 - Interesting, would be fun to see live, but not something I’d spend much time with. Not a clarinet guy, but otherwise, I like the instrumentation (even that horrific electric fretless). When the vocals come in, this steps up quite a bit. This stuff sort of strikes me as the evolution of the Return to Forever stuff, but I probably have that backwards.
How I came across this is the story and I don't really know Return to Forever so can't comment on where its come from but its pretty recent so sure you're right. I like the arrangement and the voicings and the latin feel. I'll need to listen to it again to hear the bass but I like a bit of fretless...
11 - Strummed piano, bass… I’m going to like this. Feels very Ibrahim, already. Oh yeah, at 1:30, I’m all in. It’s not Ibrahim, but it’s every bit as nice. Am I sensing the hidden theme that some of these songs are reworkings of other tunes? This tune seems very familiar, but different. Man, I miss playing with piano players.
You're right its not Ibrahim but there is something of him in the feel of this even though its much more hyperactive than him. Tune spotted above as Nick Drake if thats something you know and the bass player here worked with him. Not known as a jazz bassist but perhaps always has been
12 - Oh! 20 seconds and I’m totally in. Man, that breathy trumpet is gorgeous! Man, I HAVE to possess this! No idea what this is, but does it ever WORK! This is a lot more modern than most of the stuff that grips me, but man, am I ever in the grips of THIS! I may just listen to this all night! Oh man… PLEASE PM me the answer for this one. I need to have this yesterday!
Mixed reports on this but I'm with you. Bags of atmosphere and good to hear any night
13 - Bass, vibes and brushes… I’m going to love this. A Child Is Born. No idea who (guitar is not my forte). Not picking up who the trumpet is, but could be Eddie Henderson (something about the attack). No, not Eddie. No idea, but very nice.
I think the label's trademark sound camouflages the personalities here really well. The trumpet/guitar axis made me pick this up though its a long way from the classic albums they had recorded a few years before
14 - Song For My Father. Not sure about the vocalist. For obvious reasons, I want to say Leon Thomas, but the voice isn’t deep enough. It could actually be Bobby McFerrin. Not sure who that alto is. Very strange sound, but a modern player based on the copious licks. No idea who this is, but glad to hear somebody carrying on that Leon Thomas thing.
I like the Leon Thomas thing too and as I said above I've not heard that version (Always loved his vocal on the Creator has a Master plan with Pharoah). Not the best recording of a big band but as a tribute to Horace it hits the spot for me
Much love in this BFT for me! Thank YOU!
A Pleasure! Thanks for your comments!

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I don't play bass, just love the instrument. Hugh Ragin is an avant garde leaning trumpeter who works a lot with David Murray. Here is a good start: http://www.allmusic.com/album/back-to-saturn-mw0000010669

I'm surprised by the reaction to track 12, though that reaction may be more a result of what surrounds it than the track itself.

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I don't play bass, just love the instrument. Hugh Ragin is an avant garde leaning trumpeter who works a lot with David Murray. Here is a good start: http://www.allmusic.com/album/back-to-saturn-mw0000010669

I'm surprised by the reaction to track 12, though that reaction may be more a result of what surrounds it than the track itself.

As I get older i think I hear the low notes more keenly, not sure if thats true of others too...

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This is a very enjoyable, interesting BFT. Here are my impressions:

1. I like the bells and harp, and really like the sound of the saxophone player. I don't know who this is, but it is very appealing. It is a good opener for a BFT.

2. I really like this piano trio recording. All of the musicians have an individual voice, which is not always the case with material like this. Who is that bassist, who is playing all over the bass while still maintaining a supportive role? That can't be easy to do, because not many bassists do it successfully. Richard Davis can do it really well, but this does not sound like him.

3. This is a very lyrical performance with depth of feeling--not easy to pull off. The bassist is again playing actively while also supporting the other musicians.

4. This one reminds me of the feel of George Adams' "Sound Suggestions" album, but it is not George Adams. I like this one a lot.

5. This is a highly arranged piece, which I do not find all that interesting, I am sorry to say.

6. The guitarist has really absorbed Pat Metheny. The composition reminds me of Pat Metheny's second folk song on "Two Folk Songs" on his "80/81' album--that classic folk/country song quality. It could be a traditional folk or country song from long ago. The drummer is dropping in unexpected little bits--Tony Williams did that too, but this is clearly not Tony.

7. I have already identified this Arthur Blythe recording and written about it.

8. This to me is recorded jazz at its highest level. The pianist has a strong personal voice. He or she had to come after McCoy Tyner's Coltrane recordings. Really great track!

9. To me, this is recent generic mainstream bop music, all good, but not very compelling or distinctive. I think that there is a ton of this kind of stuff recorded in the past 15 years, and it is just not exciting enough for me any more.

10. I really like the mallet instrument/guitar/percussion combination, the textures they achieve together. The reed player knows Coltrane's music. The wordless vocals are nice-I wonder if that is the percussionist singing? Sometimes a "world music" percussionist will sing wordlessly like this, it is fairly common.

11. The pianist has a very personal voice and conception. The pianist has absorbed 1970s Keith Jarrett, but developed his or her distinctive style. I like this one a lot.

12. Very breathy harmon muted trumpet--a very good player. This is lovely, really good.

13. A very nice version of "A Child Is Born". I don't know who it is, but it is a very successful version of a song which has been recorded so many times that it can be forgettable if not performed in a distinctive way.

14. Who does a precise tribute to Leon Thomas, right down to some of his vocal mannerisms and devices? I had no idea that Leon had inspired another vocalist to this extent. I really want to know who did this--they captured Leon's style very successfully.

Overall an excellent Blindfold Test, with many treasures!

7.

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Running out of time to finish this one...

8 – Is this a '60s show tune or something I should recognize? Or some kind of European folk tune? The pianist's understated precision reminds me of Billy Taylor, and I mean that in the best way. The bass part is really beautiful, too, especially on the coda. This one's a keeper.

9 – I want to like this more than I do. The trumpet intro is nice, but after that we part ways. It smells more like a schoolroom than a club. The alto solo is like some sort of uneasy compromise between Konitz and Kenny Garrett – player has a hard time getting started, but the solo's ending is nice. Trumpet doesn't have much left to say the second time. Maybe my least favorite tune of the set. Not so bad, but instead of hearing an original voice I'm hearing studied, deliberate echoes of other people's voices, both in the playing and writing.

10 – Good clarinet in there, and a nice dancing feeling. A marimba or xylorimba instead of vibes? Praise for the percussionist, who's doing something different every few seconds. The addition of voices near the end works, it isn't overkill.

11 – Really fine version of that Nick Drake song. I want this record.

12 – Is this some kind of pop song, a relatively recent one, dramatically rearranged? Whatever it is, the arrangement is just beautiful, and so is the performance.

13 – "A Child Is Born," and I guess the guitarist is the leader? It's somebody who's listened to a lot of Kenny Burrell. No great discoveries here, but very entertaining.

14 – Who wrote this lyric for "Song for My Father?" It's SO much better than the words Horace forced Andy Bey to sing. Otherwise, I'll just echo what HP and others have said: Who's so deeply into Leon Thomas?

A very well-chosen BFT here! Thank you!

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Running out of time to finish this one...

8 – Is this a '60s show tune or something I should recognize? Or some kind of European folk tune? The pianist's understated precision reminds me of Billy Taylor, and I mean that in the best way. The bass part is really beautiful, too, especially on the coda. This one's a keeper.

Not sure about the tune or where its from and Billy Taylor is in the right ball park but not him. It is a great tune and performance though

9 – I want to like this more than I do. The trumpet intro is nice, but after that we part ways. It smells more like a schoolroom than a club. The alto solo is like some sort of uneasy compromise between Konitz and Kenny Garrett – player has a hard time getting started, but the solo's ending is nice. Trumpet doesn't have much left to say the second time. Maybe my least favorite tune of the set. Not so bad, but instead of hearing an original voice I'm hearing studied, deliberate echoes of other people's voices, both in the playing and writing.

I'll not disagree too much with this but will say a bit more in the reveal.

10 – Good clarinet in there, and a nice dancing feeling. A marimba or xylorimba instead of vibes? Praise for the percussionist, who's doing something different every few seconds. The addition of voices near the end works, it isn't overkill.

I'll need to look again at the instrumentation, don't remember noticing which instrument... There is a lovely dancing feeling, and thats a nice description

11 – Really fine version of that Nick Drake song. I want this record.

Maybe not all of the album its from, but this I really like.

12 – Is this some kind of pop song, a relatively recent one, dramatically rearranged? Whatever it is, the arrangement is just beautiful, and so is the performance.

No its an original and again lots more to discuss at the reveal.

13 – "A Child Is Born," and I guess the guitarist is the leader? It's somebody who's listened to a lot of Kenny Burrell. No great discoveries here, but very entertaining.

Co-led by the trumpeter and guitarist. I'm surprised no-one has guessed this but as I said before maybe the label 'sound' disguises their true identity

14 – Who wrote this lyric for "Song for My Father?" It's SO much better than the words Horace forced Andy Bey to sing. Otherwise, I'll just echo what HP and others have said: Who's so deeply into Leon Thomas?

Again I'll need to go back to the credits. I've never heard another sung version but have Leon Thomas on its way... Which album is the Andy Bey version on? I love the way these tests actually test my knowledge of things and push my listening in another direction picking out instruments I've not noticed, recommending things like the artists I've picked. Loving all the comments.

A very well-chosen BFT here! Thank you!

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This is a very enjoyable, interesting BFT. Here are my impressions:

1. I like the bells and harp, and really like the sound of the saxophone player. I don't know who this is, but it is very appealing. It is a good opener for a BFT.

I love the instrumentation on this and thought someone might say this isn't jazz. Composed by the drummer and so unlike the only time I saw him live...

2. I really like this piano trio recording. All of the musicians have an individual voice, which is not always the case with material like this. Who is that bassist, who is playing all over the bass while still maintaining a supportive role? That can't be easy to do, because not many bassists do it successfully. Richard Davis can do it really well, but this does not sound like him.

Great piano and collaboration. The bass player is a great one and though there aren't many I could pick out by their playing you'll definitely know him

3. This is a very lyrical performance with depth of feeling--not easy to pull off. The bassist is again playing actively while also supporting the other musicians.

Here too a great bass player and one you'll know

4. This one reminds me of the feel of George Adams' "Sound Suggestions" album, but it is not George Adams. I like this one a lot.

Good call on Adams, but you're right not him...

5. This is a highly arranged piece, which I do not find all that interesting, I am sorry to say.

Fair enough and again maybe on the edges of jazz. Some interesting textures too.

6. The guitarist has really absorbed Pat Metheny. The composition reminds me of Pat Metheny's second folk song on "Two Folk Songs" on his "80/81' album--that classic folk/country song quality. It could be a traditional folk or country song from long ago. The drummer is dropping in unexpected little bits--Tony Williams did that too, but this is clearly not Tony.

Likened to Metheny from that era is praise indeed, maybe a different folk tradition though since he's a european. The drummer is a talent too and one of the best I've seen in person

7. I have already identified this Arthur Blythe recording and written about it.

Going to gather all these albums in time since I really enjoy this...

8. This to me is recorded jazz at its highest level. The pianist has a strong personal voice. He or she had to come after McCoy Tyner's Coltrane recordings. Really great track!

He was around long before but yes it absorbs some later influence, the positive comments on this make me want to get more of his later material

9. To me, this is recent generic mainstream bop music, all good, but not very compelling or distinctive. I think that there is a ton of this kind of stuff recorded in the past 15 years, and it is just not exciting enough for me any more.

I know what you mean about this and when I see young players playing their own compositions its hard to work out what is good or not for me. I like this though whether it will stand out for long enough its hard to say.

10. I really like the mallet instrument/guitar/percussion combination, the textures they achieve together. The reed player knows Coltrane's music. The wordless vocals are nice-I wonder if that is the percussionist singing? Sometimes a "world music" percussionist will sing wordlessly like this, it is fairly common.

A really good combination, and arrangement with lovely textures totally agree. I'm a sucker for wordless vocals (and don't always listen to the words anyway) so glad ou picked these out.

11. The pianist has a very personal voice and conception. The pianist has absorbed 1970s Keith Jarrett, but developed his or her distinctive style. I like this one a lot.

Definitely a personality and a distinctive one, not giving anything away at this stage by saying its a woman. Great performance

12. Very breathy harmon muted trumpet--a very good player. This is lovely, really good.

Saw this guy live on Sunday night and the tune and its inspiration are indeed lovely!

13. A very nice version of "A Child Is Born". I don't know who it is, but it is a very successful version of a song which has been recorded so many times that it can be forgettable if not performed in a distinctive way.

Different enough to stand out from many versions. Its a tune I rarely get tired of though.

14. Who does a precise tribute to Leon Thomas, right down to some of his vocal mannerisms and devices? I had no idea that Leon had inspired another vocalist to this extent. I really want to know who did this--they captured Leon's style very successfully.

Still waiting for the Leon version to arrive so I can hear it too. It is very like him though

Overall an excellent Blindfold Test, with many treasures!

Thanks for the thoughtful comments. I'm looking forward to getting a bit more off my chest with the reveal and mayber there will be more to discuss when you know who these folk are...

Cheers!

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11. The pianist has a very personal voice and conception. The pianist has absorbed 1970s Keith Jarrett, but developed his or her distinctive style. I like this one a lot.

Definitely a personality and a distinctive one, not giving anything away at this stage by saying its a woman. Great performance

Is the pianist on #11 Lynne Arriale?

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The Horace lyric for "Song for My Father" is on the "It's Got to Be Funky" album from the '90s on Columbia. Andy Bey forges ahead bravely with the bad lyric -- but he could have done so well with this lyric.

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