BFT 134 Discussion

[Hot Ptah]

BFT 134 is one disc long, 13 songs. Some of the songs may be too easy to guess, but I hope that those songs generate some discussion about the artists in any event.

Let the discussion begin!

Edited May 4, 2015 by Hot Ptah

[felser]

1 – Way outside my domain.

2 – I like this, like that R&B sound, likely 50’s.

3 – By the numbers 60’s organ trio stuff, but they’re great numbers. Love it. Is that George Benson on guitar with Jack McDuff? I likely already own this on some Prestige/OJC CD.

4 – This is proving to be a soulful BFT? 50’s vintage, nice tune, good sax players. Sounds like one of those 50’s Prestige All-Stars “leaderless” sessions that Mal Waldron or Teddy Charles would organize, except the electric piano throws me off. So maybe it’s Ray Charles with Hank Crawford and Fathead, or something like that. That would be my guess, and the electric keyboard guy doesn’t really sound like a jazz player as such to me.

5 – Chico O’Farrill-ish. “Caravan”, of course. Good stuff.

6 – A very different “Caravan”, someone who has heard Randy Weston, though it’s not Weston, and don’t think it’s anyone like him. But I like this.

7 – Sounds like the same pianist as in #6, though maybe you set us up to just think that! Anyways, I find this more successful than their “Caravan”, holds interest more. This is one I’d like to have if I don’t already.

8 – “My Favorite Things” but not one of my favorite versions. Seemingly “Inspired” by the ‘Live at the Village Vanguard Again’ deconstruction of the beautiful tune. I’m more a ‘Newport 1963’ version guy myself. It’s OK, but way overstays it’s welcome at 10 minutes for me. I can’t say any of the soloists sound very inspired, they’d probably rather be playing “Ascension” or “Leo” or something. The trumpet solo is horrid to my ears, sounds like a joke.

9 – Wynton Marsalis showing he knows the entire history of jazz in one cut yet again? Technically brilliant, emotionally frozen, which describes all of his work following the great ‘Live at Blues Alley’. Though he was great commentating the Ken Burns Jazz series.

10 – Loved the rhythm section (especially the bass player – Charlie Haden? Fred Hopkins?), hated the composition, especially the first part (I’ve never been fond of circus music). Henry Threadgill?

11 – Very nice classic big band stuff, likely recorded a little later.

12 – Technically very impressive, though not something I listen to.

13 – My one positive ID. “Moment’s Notice” by McCoy Tyner from ‘Supertrios’. Ron Carter and Tony Williams. Love love love that period of Tyner! Hearing the 'Sahara' album was a life-changing event for me.

Interesting BFT, thanks! Designed to drive every listener crazy at some point! My favorites were #13 (of course), #3, #6, #4, in roughly that order.

[page]

Since I did recognize a theme straight away when I started to play your BFT this afternoon, here is just a quick guess for one song:

05. Tito Puento and his Orchestra – song: Caravan (or sometimes called Caravan Mambo on his albums) – composer : Duke Ellington and Juan Tizol (lyrics: Irving Mills, not used in this case). It is hard to find out when this recording was made, probably the one from 1949 till 1951 in New York by Tico Records. The first album I did find it on is "King of the Mambo" from 1952. It is hard since I can’t read Italian, lol. ( I did find it in Iatlian) This also says that this have been reissued on CD and can be found in compolation The Complete 78s, Volume 3. However I can find that one, but I don’t think this is true and the same recording since it sounds to me the tempo is slower there. The right track is on "Tito Puento & Machito – Kings of Mambo". I could listen to that one for a snippet, and that seems the right one. It is just called “Caravan” on that one. On youtube I did find it too and there it was called “Caravan mambo”. So this got me a bit confused about what would be the correct title.
I did recognize the theme straight away and at our big band we have played another Tito Puento tune; so I when I heard the feel of this one. I had to think of that and went looking. I think I have the artist correct, but I can't be about the recording just yet. I wanted to try anyway for now.

I've always liked this tune. This rendition is really one to my taste.

Edited May 4, 2015 by page

[page]

06. So this one I thought I had heard before and I had to think of Abdullah Ibrahim. Since I recognized pieces of “Caravan” (again ) I began looking whether he had recorded it. I have just one album of his hand, but this isn't on it.
Dollar Brand (Abdullah Ibrahim) – song: "Impressions on a Caravan"; composer Dollar Brand (Abdullah Ibrahim) and Duke Ellington/Juan Tizol (see post above); recorded at December the 12^th, 1973 at the Tonstudio Bauer Ludwigsburg, Germany; piano: Dollar brand, later known as Abdullah Ibrahim.
Appeared on Vinyl LP: Ode to Duke Ellington, label Black Philips label, France in 1973.
Also appeared in the US on Vinyl in 1979 label Inner City Records.;
in Germany at label West Wind two times, one on Vinyl LP in 1988 and one in 1998 on CD as Album Reissue.
I love Abdullah's playing. This song has some sort of suspense I really like.

Sorry for just posting one answer again, HP. Yesterday, I stopped listening while going on a hunt for track no. 5. I'll continue the rest of your BFT. I'm happy I've found 2 already, who would have thought that, lol. Not me.

Edited May 5, 2015 by page

[tkeith]

Track 1 - Way before my time, no idea who. It’s interesting to me because I can hear the influence on guys like Jaki Byard and Don Pullen, but it’s not something I would go to.

Track 2 - Know not the trumpet, but that’s Jug. Very go-go bar rhythm section, but I’d listen to Gene floss his teeth. Second listen: It’s not Art Farmer… maybe Howard McGee?

Track 3 - Definite Jug influence on the tenor, but not him. Could be Gator, but seems to lack his distinct approach. Not certain. Rock ’n’ Roll Illinois?

Track 4 - Something familiar about the trumpet, but then just when I think I’m ready to guess, he throws me off. Tenor sounds most like Stubblefield to me, but this is way too old to be him. Touches of Mobley, but not him. The bari sound is pure Charles Davis, but he doesn’t make sense in this context. Second listen: D’oh! That’s Sonny Blount! How’d I miss THAT first time through?!?! Had to paw through the collection: it’s Track B3 from this. That, naturally, was John Gilmore on tenor and, as I heard, Charles Davis on bari.

Track 5 - Caravan. It’s trying to swing, but not really pulling it off. I can’t place the players, but the whole things sounds like they’re working out of genre. I don’t know if they’re swing players trying to play Latin music, or Latino players trying to play swing, but something isn’t quite working. Some of Tito’s stuff struck me like this.

Track 6 - Another Caravan. Sounds like Abdullah Ibrahim to me.

Track 7 - Don’t recognize the pianist. Seems out of the same school as the previous cut, but doesn’t seem quite as strong as track 6.

Track 8 - I have this. That’s Ra/Gilmore from this.

Track 9 - Lester Bowie! Or more accurately, the AEC From this!

Track 10 - Woo-hoo! Track 1 from Air Lore! *SUCH* a great record (and my introduction to Henry Threadgill).

Track 11 - Sounds distinctly like Benny Carter on alto, but I don’t recognize the others.

Track 12 - Newer. Could be earlier Lovano (my first instinct), but I like this guy’s sound better than the flattish, rubbery sound Lovano gets. Of that generation, though. Don’t recognize the others. Drummer is very heavy, sort of like Tain.

Track 13 - Moments Notice. Sure sounds like McCoy on piano, definitely Tony Williams on drums. Contextually, I would guess Ron Carter on bass.

Some wholesome goodness in here!

[Hot Ptah]

My replies are in red.

1 – Way outside my domain.

2 – I like this, like that R&B sound, likely 50’s.

3 – By the numbers 60’s organ trio stuff, but they’re great numbers. Love it. Is that George Benson on guitar with Jack McDuff? I likely already own this on some Prestige/OJC CD.

Not Benson or McDuff.

4 – This is proving to be a soulful BFT? 50’s vintage, nice tune, good sax players. Sounds like one of those 50’s Prestige All-Stars “leaderless” sessions that Mal Waldron or Teddy Charles would organize, except the electric piano throws me off. So maybe it’s Ray Charles with Hank Crawford and Fathead, or something like that. That would be my guess, and the electric keyboard guy doesn’t really sound like a jazz player as such to me.

It is a very early user of the electric piano, but not Ray Charles. It is a 1950s recording. You may be surprised at who it is.

5 – Chico O’Farrill-ish. “Caravan”, of course. Good stuff.

6 – A very different “Caravan”, someone who has heard Randy Weston, though it’s not Weston, and don’t think it’s anyone like him. But I like this.

Not Randy Weston, you are correct.

7 – Sounds like the same pianist as in #6, though maybe you set us up to just think that! Anyways, I find this more successful than their “Caravan”, holds interest more. This is one I’d like to have if I don’t already.

It is not the same pianist as on #6.

8 – “My Favorite Things” but not one of my favorite versions. Seemingly “Inspired” by the ‘Live at the Village Vanguard Again’ deconstruction of the beautiful tune. I’m more a ‘Newport 1963’ version guy myself. It’s OK, but way overstays it’s welcome at 10 minutes for me. I can’t say any of the soloists sound very inspired, they’d probably rather be playing “Ascension” or “Leo” or something. The trumpet solo is horrid to my ears, sounds like a joke.

Interesting ideas. I am not sure that these musicians took their cues from anything that Coltrane recorded.

9 – Wynton Marsalis showing he knows the entire history of jazz in one cut yet again? Technically brilliant, emotionally frozen, which describes all of his work following the great ‘Live at Blues Alley’. Though he was great commentating the Ken Burns Jazz series.

Very interesting ideas, because Wynton publicly said many negative things about this trumpet player, when he was alive. I imagine that Wynton might feel insulted that you had guessed that this was him.

10 – Loved the rhythm section (especially the bass player – Charlie Haden? Fred Hopkins?), hated the composition, especially the first part (I’ve never been fond of circus music). Henry Threadgill?

Well, it is not circus music. Your guesses of Henry Threadgill and Fred Hopkins are correct.

11 – Very nice classic big band stuff, likely recorded a little later.

12 – Technically very impressive, though not something I listen to.

13 – My one positive ID. “Moment’s Notice” by McCoy Tyner from ‘Supertrios’. Ron Carter and Tony Williams. Love love love that period of Tyner! Hearing the 'Sahara' album was a life-changing event for me.

Yes, you got it. I included this because I had been reading some revisionist history to the effect that Wynton Marsalis came along in the early 1980s to "rescue" jazz from its sorry 1970s state. I find that totally inaccurate. This "Moment's Notice" is typical of what a routine jazz release in the 1970s was like. Music like this was being released every month on the major labels. To me, the 1970s was the golden age of recorded jazz.

Interesting BFT, thanks! Designed to drive every listener crazy at some point! My favorites were #13 (of course), #3, #6, #4, in roughly that order.

Since I did recognize a theme straight away when I started to play your BFT this afternoon, here is just a quick guess for one song:

05. Tito Puento and his Orchestra – song: Caravan (or sometimes called Caravan Mambo on his albums) – composer : Duke Ellington and Juan Tizol (lyrics: Irving Mills, not used in this case). It is hard to find out when this recording was made, probably the one from 1949 till 1951 in New York by Tico Records. The first album I did find it on is "King of the Mambo" from 1952. It is hard since I can’t read Italian, lol. ( I did find it in Iatlian) This also says that this have been reissued on CD and can be found in compolation The Complete 78s, Volume 3. However I can find that one, but I don’t think this is true and the same recording since it sounds to me the tempo is slower there. The right track is on "Tito Puento & Machito – Kings of Mambo". I could listen to that one for a snippet, and that seems the right one. It is just called “Caravan” on that one. On youtube I did find it too and there it was called “Caravan mambo”. So this got me a bit confused about what would be the correct title.
I did recognize the theme straight away and at our big band we have played another Tito Puento tune; so I when I heard the feel of this one. I had to think of that and went looking. I think I have the artist correct, but I can't be about the recording just yet. I wanted to try anyway for now.

I've always liked this tune. This rendition is really one to my taste.

It is Tito Puente playing "Caravan" from an early 1950s recording. I am glad that you like this rendition--I do too!

06. So this one I thought I had heard before and I had to think of Abdullah Ibrahim. Since I recognized pieces of “Caravan” (again ) I began looking whether he had recorded it. I have just one album of his hand, but this isn't on it.
Dollar Brand (Abdullah Ibrahim) – song: "Impressions on a Caravan"; composer Dollar Brand (Abdullah Ibrahim) and Duke Ellington/Juan Tizol (see post above); recorded at December the 12^th, 1973 at the Tonstudio Bauer Ludwigsburg, Germany; piano: Dollar brand, later known as Abdullah Ibrahim.
Appeared on Vinyl LP: Ode to Duke Ellington, label Black Philips label, France in 1973.
Also appeared in the US on Vinyl in 1979 label Inner City Records.;
in Germany at label West Wind two times, one on Vinyl LP in 1988 and one in 1998 on CD as Album Reissue.
I love Abdullah's playing. This song has some sort of suspense I really like.

Sorry for just posting one answer again, HP. Yesterday, I stopped listening while going on a hunt for track no. 5. I'll continue the rest of your BFT. I'm happy I've found 2 already, who would have thought that, lol. Not me.

Absolutely correct. I had this on vinyl in 1979, the Inner City release titled "Ode to Duke Ellington". I have always liked this album a great deal.

[Hot Ptah]

Track 1 - Way before my time, no idea who. It’s interesting to me because I can hear the influence on guys like Jaki Byard and Don Pullen, but it’s not something I would go to.

I hear the influence on other pianists too. More on that later--I will let others comment on this track first.

Track 2 - Know not the trumpet, but that’s Jug. Very go-go bar rhythm section, but I’d listen to Gene floss his teeth. Second listen: It’s not Art Farmer… maybe Howard McGee?

It is in fact Gene Ammons and Howard McGhee! Your have great ears.

Track 3 - Definite Jug influence on the tenor, but not him. Could be Gator, but seems to lack his distinct approach. Not certain. Rock ’n’ Roll Illinois?

All of those guesses are not correct.

Track 4 - Something familiar about the trumpet, but then just when I think I’m ready to guess, he throws me off. Tenor sounds most like Stubblefield to me, but this is way too old to be him. Touches of Mobley, but not him. The bari sound is pure Charles Davis, but he doesn’t make sense in this context. Second listen: D’oh! That’s Sonny Blount! How’d I miss THAT first time through?!?! Had to paw through the collection: it’s Track B3 from this. That, naturally, was John Gilmore on tenor and, as I heard, Charles Davis on bari.

Yes, you got it, exactly. I love how this was recorded in 1956 but never released until more than ten years later, when Delmark first put it out. Those who think of Sun Ra as an avant garde guy should listen to his 1950s music--there are so many beautiful gems from the 1950s. Sun Ra was one of the very first to record on electric piano, as on this 1956 track.

Track 5 - Caravan. It’s trying to swing, but not really pulling it off. I can’t place the players, but the whole things sounds like they’re working out of genre. I don’t know if they’re swing players trying to play Latin music, or Latino players trying to play swing, but something isn’t quite working. Some of Tito’s stuff struck me like this.

It is Tito. page identified this as early 1950s Tito Puente. I understand what you are saying--but I still like this track a lot.

Track 6 - Another Caravan. Sounds like Abdullah Ibrahim to me.

Yes. page identified the exact album that this comes from.

Track 7 - Don’t recognize the pianist. Seems out of the same school as the previous cut, but doesn’t seem quite as strong as track 6.

I think that you might be surprised by who this is.

Track 8 - I have this. That’s Ra/Gilmore from this.

It is Sun Ra, but from a different album. I don't think it is the identical recording released on two different albums. I will check that out tonight though,.

Track 9 - Lester Bowie! Or more accurately, the AEC From this!

Yes, exactly! In the summer of 1980, the AEC's "Full Force" was my favorite new release. On the night of July 3, 1980, with no work the next day, I played this entire album quite loud in my apartment, with friends over and drinks flowing. The next morning the guy in the apartment next to me played a Journey album at 6 a.m. at full volume, as his way of protesting. Oh well.

At the time of this release, the passing of Charles Mingus from ALS had shocked jazz lovers only a year before. This tribute to Charles Mingus, by Lester Bowie, was very moving to me.

New jazz releases were so fun and emotionally meaningful to me back then.

Track 10 - Woo-hoo! Track 1 from Air Lore! *SUCH* a great record (and my introduction to Henry Threadgill).

Yes! You got it. It was such a great record. When it came out, it made such an impact. Air's previous albums had been very avant garde, and then this came out and was so much more accessible, but still very strong. I was fortunate enough to see Air play live, two sets, at the Detroit Jazz Center in the fall of 1980, and they played some of this album.

This track is by Scott Joplin, "The Ragtime Dance."

Track 11 - Sounds distinctly like Benny Carter on alto, but I don’t recognize the others.

Not Benny. I would be surprised if anyone identifies this. I think that everyone will be surprised at who it is.

Track 12 - Newer. Could be earlier Lovano (my first instinct), but I like this guy’s sound better than the flattish, rubbery sound Lovano gets. Of that generation, though. Don’t recognize the others. Drummer is very heavy, sort of like Tain.

Track 13 - Moments Notice. Sure sounds like McCoy on piano, definitely Tony Williams on drums. Contextually, I would guess Ron Carter on bass.

Yes, you have it. Felser identified the album. I bought each McCoy Tyner release on Milestone as soon as they came out, in the 1970s and early 1980s. I loved them all. I have always found this track to be quite exciting.

Some wholesome goodness in here!

I agree! Glad you think so!

Edited May 5, 2015 by Hot Ptah

[l p]

4 sun ra 1950's

7 mccoy tyner?

8 jarrett? (not sun ra?)

edit:

yes, 8 is sun ra from 'some blues but not the kind that's blue'. doesn't sound like his style of playing to me.

Edited May 5, 2015 by l p

[Hot Ptah]

4 sun ra 1950's

Yes, see the identification above, from Thom Keith

7 mccoy tyner?

It is not McCoy Tyner.

8 jarrett? (not sun ra?)

edit:

yes, 8 is sun ra from 'some blues but not the kind that's blue'. doesn't sound like his style of playing to me.

That is correct. It is "My Favorite Things" by Sun Ra from "Some Blues But Not the Kind That's Blue."

[felser]

I agree with you that the 70's were a great time for recorded jazz. The 60's and 50's were, also. 1980 on has been comparatively a wasteland to me!

[lipi]

Well, as usual, some of these had me scratching my head, some had me exclaim "what the..." half a measure in, and some just had me shaking my head in bemusement. To my surprise, two also had me go "aha!". In other words, a fine disc.

1) Seems only appropriate to start with the man who claims he invented the jazz. Jelly Roll in 1923, "New Orleans Joys". This is one of those recordings that always sounds "slow" to me. Like I want to kick Morton in the butt and tell him to get it together and be less choppy. My favourite from these solo sessions (which spread over two days) is the faster (and as a result smoother) "King Porter Stomp" from the same day.

Morton had recorded a piano roll in 1915 (!) and two sides with a small band a few months before these solos, but these are pretty much the beginning of his recording career.

Despite my complaint, I do like this track a lot. I suspect the surprise for many post-WWII jazz aficionados will be Morton's loose and free approach to time. His right hand goes especially crazy around the two minute mark. It really has all been done before. Maybe he really *did* invent it all, after all.

11) This one had me annoyed for a while, because I knew I'd heard it before, and I knew it wasn't Charlie Barnett's "Lumby" which kept coming to mind (because of a similarly insistent riff in the melody). I admit I had to take recourse in searching through my library looking for likely candidates--obviously 40's, and the little piano spot suggested where to start looking. It's Freddie Slack's "What Is This Thing Called Rebop?" from 1946.

Aside: the start of 6 sounds like Henry Mancini lost in the Middle East.

Edited May 7, 2015 by alex.

[Hot Ptah]

Well, as usual, some of these had me scratching my head, some had me exclaim "what the..." half a measure in, and some just had me shaking my head in bemusement. To my surprise, two also had me go "aha!". In other words, a fine disc.

That is hilarious.

1) Seems only appropriate to start with the man who claims he invented the jazz. Jelly Roll in 1923, "New Orleans Joys". This is one of those recordings that always sounds "slow" to me. Like I want to kick Morton in the butt and tell him to get it together and be less choppy. My favourite from these solo sessions (which spread over two days) is the faster (and as a result smoother) "King Porter Stomp" from the same day.

Morton had recorded a piano roll in 1915 (!) and two sides with a small band a few months before these solos, but these are pretty much the beginning of his recording career.

Despite my complaint, I do like this track a lot. I suspect the surprise for many post-WWII jazz aficionados will be Morton's loose and free approach to time. His right hand goes especially crazy around the two minute mark. It really has all been done before. Maybe he really *did* invent it all, after all.

Yes! You got it! I was listening to Allen Lowe's box set, Really The Blues? (Box 1, with the first nine of thirty six CDs which make up the entire set). This Jelly Roll Morton track was surrounded by tracks by other artists from the early 1920s. This track jumped out at me. My initial thought was, "this song is where a lot of Professor Longhair's piano style comes from!" I really like Professor Longhair's music, from decades later. Some of Professor Longhair's signature devices can be heard in this 1923 Jelly Roll Morton recording, to my ears.

So that made me think. Did Professor Longhair actually know this 1923 Jelly Roll Morton recording, and was he greatly influenced by it? Or was this just a style of piano playing common in New Orleans as Professor Longhair was developing his style, which he heard in bars and clubs? If that is the case, was it a style common in New Orleans because of this 1923 Jelly Roll Morton recording? Was this specific 1923 Jelly Roll Morton recording the source? Or was it a common piano style in New Orleans anyway, and no one thought of this 1923 Jelly Roll Morton recording as a source for it? Or, was it a common piano style in New Orleans before Jelly Roll Morton recorded this track in 1923, and Morton was just documenting what he was hearing in the bars and clubs prior to 1923? I have no idea what the answer is.

Since Professor Longhair was a big influence on a lot of New Orleans music after him, if this 1923 Jelly Roll Morton recording was in fact the specific source for a lot of Professor Longhair's style, then this 1923 Jelly Roll Morton recording is the hugely influential source for a great deal of music in later decades.

11) This one had me annoyed for a while, because I knew I'd heard it before, and I knew it wasn't Charlie Barnett's "Lumby" which kept coming to mind (because of a similarly insistent riff in the melody). I admit I had to take recourse in searching through my library looking for likely candidates--obviously 40's, and the little piano spot suggested where to start looking. It's Freddie Slack's "What Is This Thing Called Rebop?" from 1946.

WOW!!! I thought that no one would get this one! You are good!

This is an unreleased track of Freddie Slack, recorded on August 16, 1946, but not released until 2005, in the Mosaic Select 3 CD set of Freddie Slack. Lloyd Rauch writes of this track in the liner notes to the Freddie Slack Mosaic Select, "What a shame that the performance was never issued."

I find it surprising that you were able to identify the track partly through Freddie Slack's piano solo, because I have always thought that it was a solo not characteristic of the rest of his recorded work, that he was going for a different way of playing as he experimented with this then-new rebop stuff.

Aside: the start of 6 sounds like Henry Mancini lost in the Middle East.

Ha! I love that. I really like this track, and this Abdullah Ibrahim album overall. There are many other outstanding tracks on it, in my opinion. I have to admit that I have found the Middle Eastern touch at the beginning of this version of "Caravan" to be a little bit broadly stated, almost corny. It has made me think, does Ibrahim get a pass because he is from Africa? Would I be as forgiving about that if he was a white guy from Omaha? Then for me, this track picks up and goes to another level. Your comparison to Henry Mancini is very funny.

Edited May 7, 2015 by Hot Ptah

[lipi]

Re: Track 1: I'm not an expert, and I'm sure jeffcrom will have more to say if he plays along for this one. Two things, though:

1) Morton was already traveling a lot at this point. He had spent five or six years in California and had just moved to Chicago when he made these recordings (in Indiana, for Gennett). Sure he was a New Orleans musician, but he also had been exposed to lots of other styles in the preceding few years.

2) His playing on later recordings retains much of the style of this one, I think. So Byrd (and any other musicians) would not necessarily have to have been influenced by this particular track (or even this session). I think (but am not sure) that these solo 1923 recordings made quite a splash, but that the Red Hot Pepper recordings from 1926 on were a much bigger deal (they're not solos, though, so perhaps pianists found them less inspirational--what do I know?). (Regardless--everyone who played after him was influenced, directly or indirectly, by his playing in some way.)

I think you would really enjoy the Jelly Roll Morton Library of Congress recordings. He talks a lot about history and plays in his approximation of different early styles. It's quite an enjoyable listen.

Re: Track 11: Maybe the solo just reminded me of hearing this track while listening to the rest of the Mosaic and that's how I made the association? I don't know. All I can say is, it made me think of him and of Boogie Woogie in general.

[Dan Gould]

Thanks Bill for a (mostly) ear-friendly BFT. Not many guesses (when have I not said that?) but ...

2 - I recognized this almost immediately and am nearly certain that it is Howard McGhee, from the Argo LP House Warmin', a big favorite of mine for a long time now. I even unwittingly bought it again as a Winley release, Nothin' But Soul. It wasn't a purchase I regretted though because the sound turned out to be better than the Argo LP I had first.

However I am away from my collection and discogs shortest track listed on this album doesn't match up. I'm still going to stick with my guess. I know I have this somewhere, if somehow it's not from House Warmin'.

5-6, "Caravan" - ugh. That song outlived it's usefullness to me a long time ago. I will say I like the pianists version a little though.

13 - "Moment's Notice" by McCoy Tyner off of Supertrios. Brings back memories of my roommate in my second year of grad school in St Louis. It was my first year of listening to jazz, and my roommate was a law student with a rather wide definition of jazz ... Flim and the BBs was his absolute favorite (who didn't appeal to me at all) but he also had the Tyner album Double Trios and ended up going with me for my first live performance, by the MJQ at the Kiel Opera House. Anyway, Double Trios led me to purchase this double LP which got a lot of spins back then.

[Hot Ptah]

Thanks Bill for a (mostly) ear-friendly BFT. Not many guesses (when have I not said that?) but ...

2 - I recognized this almost immediately and am nearly certain that it is Howard McGhee, from the Argo LP House Warmin', a big favorite of mine for a long time now. I even unwittingly bought it again as a Winley release, Nothin' But Soul. It wasn't a purchase I regretted though because the sound turned out to be better than the Argo LP I had first.

However I am away from my collection and discogs shortest track listed on this album doesn't match up. I'm still going to stick with my guess. I know I have this somewhere, if somehow it's not from House Warmin'.

5-6, "Caravan" - ugh. That song outlived it's usefullness to me a long time ago. I will say I like the pianists version a little though.

13 - "Moment's Notice" by McCoy Tyner off of Supertrios. Brings back memories of my roommate in my second year of grad school in St Louis. It was my first year of listening to jazz, and my roommate was a law student with a rather wide definition of jazz ... Flim and the BBs was his absolute favorite (who didn't appeal to me at all) but he also had the Tyner album Double Trios and ended up going with me for my first live performance, by the MJQ at the Kiel Opera House. Anyway, Double Trios led me to purchase this double LP which got a lot of spins back then.

Track 2 is from "House Warmin'". This is the title track.

I like that story about McCoy Tyner. I wonder how much sharing of jazz goes on between college students these days.

Edited May 18, 2015 by Hot Ptah

[Hot Ptah]

It appears that out of the thirteen tracks on this Blindfold Test, that ten tracks have been identified. Only Tracks 3, 7 and 12 remain to be identified.

I have noticed that some members who regularly participate in these Blindfold Tests tend to do so in the last few days of the month. So we will see if anyone else comments later in the month.

[Hardbopjazz]

Not reading the other relies yet. I am Mr. Led ears.

01. Guessing here. Fats Waller?

02. Could this be Gene Ammons? I have no idea who is playing trumpet.

03. Like this one a lot, but I don’t know who any of the musicians are.

04. I like this but don’t have a clue with my led ears.

05. Dizzy’s big band? I try to listen to Caravan on Allmusic to find the answer. There are too many recordings.

06. I like this one too. I wish I knew.

07. No idea L

08. Another solo piano. I wish I knew.

09. Is this AEC?

10. I like this. Once I find out who this is I will have to buy this.

11. Another one I am clueless.

12. Can’t say I know this one.

13. Moments notice. McCoy Tyner?

[Hot Ptah]

Not reading the other relies yet. I am Mr. Led ears.

01. Guessing here. Fats Waller?

02. Could this be Gene Ammons? I have no idea who is playing trumpet.

03. Like this one a lot, but I don’t know who any of the musicians are.

04. I like this but don’t have a clue with my led ears.

05. Dizzy’s big band? I try to listen to Caravan on Allmusic to find the answer. There are too many recordings.

06. I like this one too. I wish I knew.

07. No idea L

08. Another solo piano. I wish I knew.

09. Is this AEC?

10. I like this. Once I find out who this is I will have to buy this.

11. Another one I am clueless.

12. Can’t say I know this one.

13. Moments notice. McCoy Tyner?

Track 2 does feature Gene Ammons. Track 9 is the Art Ensemble of Chicago. Track 13 is Moment's Notice by McCoy Tyner. So you did better than I ever do!

Edited May 18, 2015 by Hot Ptah

[Hardbopjazz]

Wow, I didn't get Howard McGhee on #2. I have this CD. I guess I have to revisit it.

[Dan Gould]

There's a CD of House Warmin'?

[Hot Ptah]

I don't know if Hardbopjazz has a CD of "House Warmin', " I took this track from a compilation set.

Edited May 19, 2015 by Hot Ptah

[Hardbopjazz]

I have this CD. It is a compilation of jazz on the label Chess.

House Warmin' CD is for sale on Amazon.

http://www.amazon.com/Nobody-knows-when-House-warmin/dp/B00DSKQGG6/ref=sr_1_2?ie=UTF8&qid=1432075603&sr=8-2&keywords=House+Warmin%27%21

Edited May 19, 2015 by Hardbopjazz

[Spontooneous]

Don't know that I have much to contribute after so many good identifications, but that's never stopped me before...

1. I'll have to guess Morton, or somebody who paid close attention. Recorded no later than about 1928. The "Latin tinge" is very significant.

2. You want me to guess it's some veteran swing trumpeter in a '50s recording trying to be hip with a younger rhythm section, but a momentary Bird lick makes me think the trumpeter is younger. The tenor could almost be young Gene Ammons.

3. No guess, but that organ solo is cool as anything.

4. You're bound to stick some Sun Ra in High Space Fidelity in there somewhere, and this might be the one. And might that be Hobart Dotson?

5. I half expected to bored with another "Caravan" but this one thrills me. Especially the pianist.

6. The harmony and melody scream Spain, but everything else suggests Abdullah Ibrahim. This is taking the scenic route to "Caravan."

7. At first it seems like Chick playing something reminiscent of Spain, or somebody whose playing is reminiscent of Chick playing something reminiscent of Spain if you know what I mean. But it's too thickly textured to be Chick. And a few spots are pretty weird. Maybe an offbeat choice like some relatively calm Don Pullen. I like it very much.

8. Fascinating way to back into "My Favorite Things." Is this perhaps from overseas? Then again, the pianist makes me think it might be from Saturn, though the tenor doesn't sound like the one we associate with Saturn.

9. Lester Bowie discloses himself quickly, and the rest of the lineup suggests AECO. Famoudou and Malachi lay down an amazing groove here.

10. And the award for most behind-the-beat playing goes to ... this altoist, who might be Threadgill. The group seems like Air. It's like an old rag or march tune, and I mean that in a good way.

11. A rough beast on "What Is This Thing Called Love" changes, with an arrangement more "modern" than any of the soloists. Maybe a Charlie Ventura contraption?

12. Sounds like an ECM, with violin. Jack DeJohnette in the back? Abercrombie?

13. Of course this was the first track to be guessed. It reminds me of something I heard a very respected jazz drummer say: "Drums make you crazy. They made Tony Williams crazy."

A fun selection, with nothing that rubs me the wrong way. Thank you!

[Homefromtheforest]

I enjoyed this BFT but it's been crazy lately with my baby and toddler and the few identifications I got have already been pointed out!

Thanks Hot Ptah!

[Hot Ptah]

I enjoyed this BFT but it's been crazy lately with my baby and toddler and the few identifications I got have already been pointed out!

Thanks Hot Ptah!

I know how it can get, with small children. Thanks for your comments.

Edited May 26, 2015 by Hot Ptah