Jump to content

BFT 137 discussion


Spontooneous

Recommended Posts

  • Replies 53
  • Created
  • Last Reply

Top Posters In This Topic

Here are a few suggestions.

Track 1

An early bop performance of "Cherokee" from c.1943 - or did they have a recording ban in that year? Guitarist very prominent and sounds very like Charlie Christian, if not Charlie himself. Tiny Grimes? Trumpet full of Dizzy licks - early Gillespie. Howard McGhee and Joe Guy are other names from the time. Not Minton's, I suppose?

Track 8

I wondered if this could be Ray Nance on violin (and a little trumpet later) with an Ellington orchestra c.1940. Then I checked Wikipedia and saw that Ray also worked with Earl Hines and Horace Henderson. Piano didn't sound like Duke, so was it Earl?

Track 9

Hard bop sextet c.1960. Could be a Blue Note date. Impressive tenor with boppish lines reminiscent of Dexter or Joe Farrell.

Track 10

Same area of jazz as track 9. Hard bop trumpet/alto quintet playing a modal composition reminiscent of "So What". Trumpet not100% technically accomplished. Pianist plays Tyner chords.

 

Link to comment
Share on other sites

1 – “Cherokee”.  Before my time, but has to be Charlie Christian, doesn’t it?  Incredibly pure guitar sound.  Very lovely in that regard.
2 – Of my time, I like this a lot.  The trumpet player has that Miles Davis sound DOWN.  I want this album!
3 - This sort of session seemed to take place in the late-sixties to early-seventies.  The question becomes identifying the Jimmy Smith-influenced organ player.  This guy seems to have also taken in some Larry Young by this point, and there’s superfly funk elements, so I will guess early 70’s, but not too early, say 1973 or 1974.   Sounds like one of those Sonny Lester types of sessions on Solid State, Groove Merchant, or Blue Note.  I’ll guess it’s my man Groove Holmes, though I wouldn’t be shocked if it were Jimmy McGriff, Jack McDuff, Reuben Wilson, or any number of other players.  Certainly enjoyable for what it is.  I like the tenor player.  What happened at  around 9:30 there?  Like the tape stopped and started back up.   Much credit due for a track like this running 11 minutes, and yet not outlasting its welcome.  Really good of its kind.
4 – Waaay before my time.  Just does not work for my ears in 2015, even if it proves to be Ellington or something.    But I can hear that it would have been killer in 1927 or whatever.  And I’m not being sarcastic with that comment.
5 – Yeah,I really like this.  I will absolutely be tracking this down if I don’t already own it.  I can tell this is going to be an expensive BFT for me .  This is a freakin’ great cut!  Love the trumpet, love the tenor, love what the piano and bass are doing.  Just great great stuff.  I feel like I should certainly be able to ID this, but can’t.   I’m sure the trumpet player must be someone I know and love.  And the tenor player too.   And pianist is no slouch either.  Trumpet player’s album?
6 – Does not compute.
7 – Interesting cut, like the trumpet.    
8 - Ray Nance with Ellington?  Impressive violin playing.
9 – I would think recorded some time in the 60’s after ‘Idle Moments’ had been released, as it has that feel to it.  I would think this is a Blue Note date, it has that feel  and quality.  I would hope this is on my shelves somewhere already.  If not, I’ll look to rectify that.
10 – And I also really like this.  So many cuts that sound like they fall into that perfect (for my tastes) 1961-1975 pocket.  Killer trumpet players throughout much of this BFT.
11/12 – Part of a well-rounded liberal arts musical education, I guess.  

Really enjoyed the BFT, can't wait to get the reveals, especially on 2,5,9,10, but also on 3.7.  Thanks so much!

 

 

Link to comment
Share on other sites

Here are a few suggestions.

Track 1

An early bop performance of "Cherokee" from c.1943 - or did they have a recording ban in that year? Guitarist very prominent and sounds very like Charlie Christian, if not Charlie himself. Tiny Grimes? Trumpet full of Dizzy licks - early Gillespie. Howard McGhee and Joe Guy are other names from the time. Not Minton's, I suppose?

Number one, it's great to see you back in here, Bill!

A very perceptive set of comments here. Since it's early in the game, I'll probably be a little evasive in my comments. Don't want to give away too much yet!

Time frame is about right, really 1945. Not Tiny Grimes. Not Minton's. I half expect somebody to have an exact ID on this side pretty soon.

 

Track 8

I wondered if this could be Ray Nance on violin (and a little trumpet later) with an Ellington orchestra c.1940. Then I checked Wikipedia and saw that Ray also worked with Earl Hines and Horace Henderson. Piano didn't sound like Duke, so was it Earl?

Ahh, you got me here. It's Ray Nance. But not Duke or Earl.

 

Track 9

Hard bop sextet c.1960. Could be a Blue Note date. Impressive tenor with boppish lines reminiscent of Dexter or Joe Farrell.

Not Blue Note, though some of the players were heard there.

 

Track 10

Same area of jazz as track 9. Hard bop trumpet/alto quintet playing a modal composition reminiscent of "So What". Trumpet not100% technically accomplished. Pianist plays Tyner chords.

 

Truth is, two trumpets. Second one might be a little bit lost. I'm a big fan of this pianist.

Thanks again, Bill!

track 2 sure sounds like miles, but it's not him. 

Yes, sounds a whole lot like Miles at times, and maybe that didn't help his career.

And maybe sometimes, with certain leaders, it did help. Hint hint.

Link to comment
Share on other sites

 

track 2 sure sounds like miles, but it's not him. 

Yes, sounds a whole lot like Miles at times, and maybe that didn't help his career.

And maybe sometimes, with certain leaders, it did help. Hint hint.

i hope it's not that marsalis character.

Link to comment
Share on other sites

On Cherokee, I was torn between Remo Palmieri and Chuck Wayne on guitar, but when I heard Dizzy, it was easy enough to verify that it's Wayne (group led by clarinet player; recorded for Black & White label).

Now I'll move on to the rest.  Many thanks (really, thank you) to Thom for making it so easy to jump in and participate!

Edited by Jim R
Link to comment
Share on other sites

 

track 2 sure sounds like miles, but it's not him. 

Yes, sounds a whole lot like Miles at times, and maybe that didn't help his career.

And maybe sometimes, with certain leaders, it did help. Hint hint.

 

i hope it's not that marsalis character.

Tweak the ending of that name slightly, and you've got the clarinet player in track 1.  :)

Link to comment
Share on other sites

 

track 2 sure sounds like miles, but it's not him. 

Yes, sounds a whole lot like Miles at times, and maybe that didn't help his career.

And maybe sometimes, with certain leaders, it did help. Hint hint.

 

i hope it's not that marsalis character.

More likely that Roney character.  Got him a good gig with Tony Williams.

Edited by felser
additional thought
Link to comment
Share on other sites

9.  For some reason I want to say that's Jimmy Heath on tenor.  I was surprised when the guitar solo began, as I hadn't noticed a guitar in the mix up to that point.  I'm going back and forth trying to decide if that's Kenny Burrell, or just a too-good imitation.  I keep thinking that the phrasing sounds too much like him for it not to be him, but the tone doesn't sound quite right for KB.  Sigh... this is why I hate blindfold tests!  ;) 

10.  The head on this sounds like it could have been a 60's/70's tv detective theme (and I think that's a good thing).  :)

Link to comment
Share on other sites

.

On 2: Neither Roney nor Marsalis. A generation or two earlier.

Having not heard this, but based on your clues is it Johnny Coles?   OK I've listened to it and I still think it's Little Johnny C but from a record I don't have. 

Edited by medjuck
Link to comment
Share on other sites

Catching up ... responding to Felser:

1 – “Cherokee”.  Before my time, but has to be Charlie Christian, doesn’t it?  Incredibly pure guitar sound.  Very lovely in that regard.

 

It’s interesting how well they captured that fat tube-amp guitar sound on the 78. Some engineer really knew their stuff. Jim R provided the ID above. 

 

2 – Of my time, I like this a lot.  The trumpet player has that Miles Davis sound DOWN.  I want this album!

Yes, you do!


3 - This sort of session seemed to take place in the late-sixties to early-seventies.  The question becomes identifying the Jimmy Smith-influenced organ player.  This guy seems to have also taken in some Larry Young by this point, and there’s superfly funk elements, so I will guess early 70’s, but not too early, say 1973 or 1974.   Sounds like one of those Sonny Lester types of sessions on Solid State, Groove Merchant, or Blue Note.  I’ll guess it’s my man Groove Holmes, though I wouldn’t be shocked if it were Jimmy McGriff, Jack McDuff, Reuben Wilson, or any number of other players.  Certainly enjoyable for what it is.  I like the tenor player.  What happened at  around 9:30 there?  Like the tape stopped and started back up.   Much credit due for a track like this running 11 minutes, and yet not outlasting its welcome.  Really good of its kind.

 

It’s 1973 exactly. Yes, a very JOS-influenced player, every time he played. Much more will be said on the subject of the horn soloists before this BFT is over.

 

4 – Waaay before my time.  Just does not work for my ears in 2015, even if it proves to be Ellington or something.    But I can hear that it would have been killer in 1927 or whatever.  And I’m not being sarcastic with that comment.

The corn factor is high as an elephant’s eye here, but this band always makes me smile.


5 – Yeah,I really like this.  I will absolutely be tracking this down if I don’t already own it.  I can tell this is going to be an expensive BFT for me .  This is a freakin’ great cut!  Love the trumpet, love the tenor, love what the piano and bass are doing.  Just great great stuff.  I feel like I should certainly be able to ID this, but can’t.   I’m sure the trumpet player must be someone I know and love.  And the tenor player too.   And pianist is no slouch either.  Trumpet player’s album?

It’s the trumpet player’s album and composition. Somebody you might know well. The others may come as a surprise.

 

7 – Interesting cut, like the trumpet.    

I heard the same guitarist and same bassist play this tune live a few weeks ago. Wish I had a recording of that version to share. But this one works just fine.

 

8 - Ray Nance with Ellington?  Impressive violin playing.

Ray yes, Duke no.

 

9 – I would think recorded some time in the 60’s after ‘Idle Moments’ had been released, as it has that feel to it.  I would think this is a Blue Note date, it has that feel  and quality.  I would hope this is on my shelves somewhere already.  If not, I’ll look to rectify that.

Michael Weiss got it, and I’d be secretly disappointed if he hadn’t. I figured somebody would recognize the tune.


10 – And I also really like this.  So many cuts that sound like they fall into that perfect (for my tastes) 1961-1975 pocket.  Killer trumpet players throughout much of this BFT.

 

Already an interesting range of opinions on this one.


11/12 – Part of a well-rounded liberal arts musical education, I guess.  

 

The reveal of 11 won’t surprise many people, but 12 might.

 

 

 

 

Edited by Spontooneous
edited for typos
Link to comment
Share on other sites

9.  ...I'm going back and forth trying to decide if that's Kenny Burrell, or just a too-good imitation.  I keep thinking that the phrasing sounds too much like him for it not to be him, but the tone doesn't sound quite right for KB.

I guess I can chalk that up to this being recorded for a small label, at what studio I have no idea.  At least that's my excuse.  Anyway, thanks to Michael for hipping this KB "complete-ist" (as close as anybody can likely be, that is) to this session.  I had seen the cover, but never heard the album.

Link to comment
Share on other sites

9.  ...I'm going back and forth trying to decide if that's Kenny Burrell, or just a too-good imitation.  I keep thinking that the phrasing sounds too much like him for it not to be him, but the tone doesn't sound quite right for KB.

I guess I can chalk that up to this being recorded for a small label, at what studio I have no idea.  At least that's my excuse.  Anyway, thanks to Michael for hipping this KB "complete-ist" (as close as anybody can likely be, that is) to this session.  I had seen the cover, but never heard the album.

Smash was a pop subsidiary of Mercury.  Small as far as jazz goes, but they sold a lot of records by the Left Banke, Roger Miller, James Brown, Jerry Lee Lewis, The Walker Brothers, and others in the 60's.

Link to comment
Share on other sites

Re Track 1:

Wikipedia on Joe Marsala: "Although usually thought of as a 'dixielander' along with Eddie Condon, Marsala was more adventurous: in the 1940s he used Dizzy Gillespie on a recording session. He also cut some very modern sounding sides with guitarist/composer Chuck Wayne."

Link to comment
Share on other sites

Well, only got one full ID.  Some great stuff in here!

Track 1 - Obviously Cherokee.  I know it's blasphemy, but I've never cared for the tune.  I know it's Jazz standard 101, but the melody does nothing for me and the lyrics are quite silly and dated.  Rant over.  Digging the guitar solo, though I have no idea who it is.  There's a touch of Roy Eldridge in the trumpet, but I don't think it's him -- seems too controlled.  Good cut, in spite of the tune.  (In fairness, I have the same reaction to Giant Steps from a compositional standpoint.)

Track 2 - Hmmm... I like this.  A lot going on here.  Seems very familiar (like, probably in my collection familiar).  A post-Miles player with a debt of gratitude owed, but also someone with his own concept.  Seems to mix that Yusef Lateef world-approach with the tradition and does so well.  Liking this a LOT.  I love the way he's working that simple motif and gradually building the tension.  Rhythm section is following (though the drummer is a little off compared to the others).  Snare sounds like it could be Idris Muhammad.  That's Horace Parlan on piano.  OH!  I *do* have this.  Wow, egg on my face.  I believe it's the title cut from this

Track 3 - Cruisin' in my El Dorado, white on beige... aw yeah.  Ah yes, and the requisite unemployment stick solo.  This is terribly 70s, in a very good way.  Ooooo!  Billy Harper!  Tasty!  I assume Gil Evans, but which album, I lack clues.  Billy is *so* bad ass!  Huh... could be Thad/Mel, actually.  That was my first thought when I heard the soprano.  The band parts seem more Thad & Mell while the keys seems more like one of Gil's projects.  Whatever it is, it cooks.  Almost sounds like Jimmy Smith on organ, but that doesn't follow.  Color me intrigued.

Track 4 - I'm a product of the 70s -- my mind sees a cartoon (not a bad thing); maybe a drunken duck walking along a boardwalk.  No one I'm familiar with.  

Track 5 - This is a quirky arrangement but it's striking a chord for me.  Almost sounds like Harold Vick, but man, this guy has some furious running outbursts that are knocking my socks off.  Everything here works for me.  Man, that trumpeter is hitting some Kenny Wheeler lines like I've never heard anyone else hit.  I don't think it's Kenny, but this guy has definitely put some time in with the man.  He's more agressive, though -- like Everett Hollins ripping Kenny Wheeler lines.  The sound of the drums is thin, which bothers me, but musically, this is absolutely killin'.  It's almost frenetic, but holds itself together well.  VERY interested to learn what this is (and if the whole album matches this level of quality). 

Track 6 - Overdubbed or three trumpets?  It's interesting, I'm just not sure it's going anywhere.  Doesn't seem like an avant garde guy (cherry, dixon, et al), but seems like a more straight ahead player (or players) looking for that feel.  

Track 7 - I want to fault this for it's intentional drag, but I'm totally buying it.  It's very unique and it absolutely works.  I don't know if you'd all this 4-over-3 or 3-over-4, but man, it absolutely works.  I need this.

Track 8 - Grapelli?  No idea.  Pleasant, but no lasting desire that requires ownership.

Track 9 - I like this for its Messengers feel, but it doesn't have that *bite*.  I'm wanting to hear a little more grunt, in spite of how much I like the tune.  I thought it was George Adams at first, and I was thinking, "here we go."  A little like Golson and a lot like Teddy Edwards, both of whom I like.  The sound is Teddy but the ideas are Golson without the polish.  This guy is going to drink your beer and leave with your girl -- in short, he's a tenor player!  I feel like I should get closer to him than I did, but I can't get him.  Has the sounds of one of those Muse dates, but seems newer than that.  I'm in on this one, as well, even if it seems to try to cover a bit too much ground on the head.

Track 10 - It has a bit of that Blue Note sound, but it's later.  Not Johnny Coles... Carmell Jones?  I don't have this, but I need it.  Again, like to know if the whole thing is like this, because this is right on.  Wish I weren't on the laptop because I like what the bass is doing, but can't really hear it.

Track 11 - No idea.  Great feel.

Track 12 - No idea.  

 

Here goes. 

Latecomers are welcome. Jump on at http://www.thomkeith.com/BFT/bft137.html.

Special thanks to Mr. Keith for his wonderful web hosting.

Egad!  "Wonderful"?  Let's not overdo it!  ;)

(Have I mentioned how much I hate the feature that combines your posts?)

9. "Kids Are Pretty People" (Thad Jones)

Billy Mitchell Quintet

A Little Juicy (Smash)

w/ Thad, Richard Wyands, Kenny Burrell, Herman Wright, Oliver Jackson

The arrangement comes from (or precedes) the big band arrangement.

Oh, HELL yes!  *THAT'S* why that tenor was so familiar and bad ass!  I was right!  He WILL drink your beer and leave with your girl!

Link to comment
Share on other sites

Well, only got one full ID.  Some great stuff in here!

Track 1 - Obviously Cherokee.  I know it's blasphemy, but I've never cared for the tune.  I know it's Jazz standard 101, but the melody does nothing for me and the lyrics are quite silly and dated.  Rant over.  Digging the guitar solo, though I have no idea who it is.  There's a touch of Roy Eldridge in the trumpet, but I don't think it's him -- seems too controlled.  Good cut, in spite of the tune.  (In fairness, I have the same reaction to Giant Steps from a compositional standpoint.)

I can relate to being down on certain tunes. At least this one's from early in Cherokee's life as a showpiece -- a few months before "Koko," in fact. I like your reaction to the trumpet solo, the Roy influence in Dizzy. "Too controlled"? Dizzy would be flattered.

 

Track 2 - Hmmm... I like this.  A lot going on here.  Seems very familiar (like, probably in my collection familiar).  A post-Miles player with a debt of gratitude owed, but also someone with his own concept.  Seems to mix that Yusef Lateef world-approach with the tradition and does so well.  Liking this a LOT.  I love the way he's working that simple motif and gradually building the tension.  Rhythm section is following (though the drummer is a little off compared to the others).  Snare sounds like it could be Idris Muhammad.  That's Horace Parlan on piano.  OH!  I *do* have this.  Wow, egg on my face.  I believe it's the title cut from this

 

Ding ding ding! Tell him what he's won, Johnny!

 

 

Track 3 - Cruisin' in my El Dorado, white on beige... aw yeah.  Ah yes, and the requisite unemployment stick solo.  This is terribly 70s, in a very good way.  Ooooo!  Billy Harper!  Tasty!  I assume Gil Evans, but which album, I lack clues.  Billy is *so* bad ass!  Huh... could be Thad/Mel, actually.  That was my first thought when I heard the soprano.  The band parts seem more Thad & Mell while the keys seems more like one of Gil's projects.  Whatever it is, it cooks.  Almost sounds like Jimmy Smith on organ, but that doesn't follow.  Color me intrigued.

 

Once again TK proves himself a very perceptive hearer. And I should come clean on this one, because I realize today that something I posted about this tune in haste yesterday might be misleading.

Several people have thought they heard Jimmy Smith on this one. It's because they did. It's him.

You are the third person I've played this for to pipe up, "Billy Harper!" That's because it's him too.

Now the task is to identify the band.

 

Track 4 - I'm a product of the 70s -- my mind sees a cartoon (not a bad thing); maybe a drunken duck walking along a boardwalk.  No one I'm familiar with.  

I fear that image is going to stay with me the rest of my life.

 

Track 5 - This is a quirky arrangement but it's striking a chord for me.  Almost sounds like Harold Vick, but man, this guy has some furious running outbursts that are knocking my socks off.  Everything here works for me.  Man, that trumpeter is hitting some Kenny Wheeler lines like I've never heard anyone else hit.  I don't think it's Kenny, but this guy has definitely put some time in with the man.  He's more agressive, though -- like Everett Hollins ripping Kenny Wheeler lines.  The sound of the drums is thin, which bothers me, but musically, this is absolutely killin'.  It's almost frenetic, but holds itself together well.  VERY interested to learn what this is (and if the whole album matches this level of quality). 

 

Not Kenny, or Everett. (Wait a minute -- have you heard Everett anywhere but on Billy Harper records?)

 

Track 6 - Overdubbed or three trumpets?  It's interesting, I'm just not sure it's going anywhere.  Doesn't seem like an avant garde guy (cherry, dixon, et al), but seems like a more straight ahead player (or players) looking for that feel.  

Not overdubbed.

 

Track 7 - I want to fault this for it's intentional drag, but I'm totally buying it.  It's very unique and it absolutely works.  I don't know if you'd all this 4-over-3 or 3-over-4, but man, it absolutely works.  I need this.

Glad to hear. The tune was written by a friend.

 

Track 8 - Grapelli?  No idea.  Pleasant, but no lasting desire that requires ownership.

Some others have come quite close to identifying this, but not totally there yet.

 

Track 9 - I like this for its Messengers feel, but it doesn't have that *bite*.  I'm wanting to hear a little more grunt, in spite of how much I like the tune.  I thought it was George Adams at first, and I was thinking, "here we go."  A little like Golson and a lot like Teddy Edwards, both of whom I like.  The sound is Teddy but the ideas are Golson without the polish.  This guy is going to drink your beer and leave with your girl -- in short, he's a tenor player!  I feel like I should get closer to him than I did, but I can't get him.  Has the sounds of one of those Muse dates, but seems newer than that.  I'm in on this one, as well, even if it seems to try to cover a bit too much ground on the head.

Great comm -- hey, where's my beer? Hon, have you seen my beer? Hon?

Track 10 - It has a bit of that Blue Note sound, but it's later.  Not Johnny Coles... Carmell Jones?  I don't have this, but I need it.  Again, like to know if the whole thing is like this, because this is right on.  Wish I weren't on the laptop because I like what the bass is doing, but can't really hear it.

TK busts me again. It's Carmell.

Very impressive!
Edited by Spontooneous
to remove dumb remark by me.
Link to comment
Share on other sites

 

Track 3 - Cruisin' in my El Dorado, white on beige... aw yeah.  Ah yes, and the requisite unemployment stick solo.  This is terribly 70s, in a very good way.  Ooooo!  Billy Harper!  Tasty!  I assume Gil Evans, but which album, I lack clues.  Billy is *so* bad ass!  Huh... could be Thad/Mel, actually.  That was my first thought when I heard the soprano.  The band parts seem more Thad & Mell while the keys seems more like one of Gil's projects.  Whatever it is, it cooks.  Almost sounds like Jimmy Smith on organ, but that doesn't follow.  Color me intrigued.

 

Once again TK proves himself a very perceptive hearer. And I should come clean on this one, because I realize today that something I posted about this tune in haste yesterday might be misleading.

Several people have thought they heard Jimmy Smith on this one. It's because they did. It's him.

You are the third person I've played this for to pipe up, "Billy Harper!" That's because it's him too.

Now the task is to identify the band.

 

Just when I think I have completed my quest to acquire ALL Billy Harper... I had no idea he had worked with JS.

 

Track 5 - This is a quirky arrangement but it's striking a chord for me.  Almost sounds like Harold Vick, but man, this guy has some furious running outbursts that are knocking my socks off.  Everything here works for me.  Man, that trumpeter is hitting some Kenny Wheeler lines like I've never heard anyone else hit.  I don't think it's Kenny, but this guy has definitely put some time in with the man.  He's more agressive, though -- like Everett Hollins ripping Kenny Wheeler lines.  The sound of the drums is thin, which bothers me, but musically, this is absolutely killin'.  It's almost frenetic, but holds itself together well.  VERY interested to learn what this is (and if the whole album matches this level of quality). 

 

Not Kenny, or Everett. (Wait a minute -- have you heard Everett anywhere but on Billy Harper records?)

 

I have not.  Helen Scott told me that he'd had some woman trouble and had stopped playing.  I believe he was preaching at last count (if he's still with us).  Why that guy never got more well known is beyond me.  Him and Hannibal.

 

Track 7 - I want to fault this for it's intentional drag, but I'm totally buying it.  It's very unique and it absolutely works.  I don't know if you'd all this 4-over-3 or 3-over-4, but man, it absolutely works.  I need this.

Glad to hear. The tune was written by a friend.

 

Now I *AM* intrigued.

Track 10 - It has a bit of that Blue Note sound, but it's later.  Not Johnny Coles... Carmell Jones?  I don't have this, but I need it.  Again, like to know if the whole thing is like this, because this is right on.  Wish I weren't on the laptop because I like what the bass is doing, but can't really hear it.

TK busts me again. It's Carmell.

Very impressive!

OH!  Sweet score!  I was nervous about that one.  I was confident about the guess, but equally confident I was full of sh*t!

 

Link to comment
Share on other sites

Re: The Quest for all Billy Harper.  Don't miss out on this one:  Excellent for both his writing and his playing.

 

Priestess

Track Listing

 Sample Title/ComposerPerformerTimeStream 
 112:22 
 25:43 
 39:31 
 45:18 
 56:20 
 69:36 
 76:24
Edited by felser
Link to comment
Share on other sites

Listening for the first time while writing. The usual thanks and disclaimers firmly in place, away we go!

TRACK ONE - This is that Joe Marsala side with Dizzy, totally obscure as far as I know, the only way I foujnd it was stuck on the end of some Laserlight compilation that I bought for some reason. Pretty much classic in spite of its obscurity though, I think, bebop solos over chunkchunk "swing-to-bop" rhythm section, and nobody's bothered by it at all, it seems. Probably because everybody was still working it out and hadn't yet wholly settled on "do"s, still working on eliminating the "don't"s. Happy people when things are in that stage, sometimes.

TRACK TWO -  Sometimes people bitch about Johnny Coles not being a strong player or having weak chops or something, and I'm like, yeah.....o...k....he doesn't play "brightly", but jeez, the due is playing, ya' know? Language. And VOICE. I don't know what this album is, it's not the Mainstream, and whatever alter work of his I have, I've not really explored past a listen or two (time compresses, etc.), but hey, that's Johnny Coles, nobody plays like that, nobody sounds like that.

TRACK THREE - That sounds like an post-60s organ record arranged by Thad Jones, so I'll confidently guess Jimmy Smith's Portuguese Soul. That was one of the new releases from Verve of the day iirc..anyway, point just being that if you blinked, you missed it, and then Verve went into semi-hibernation for a while, resuscitated for the reissue and two-fer craze, and afaik, this one has never been reissued. I bought it a few years ago and haven't really dug into it yet. This cut sounds good, and given time/place, my guess on soprano is either Jerome Richardson or Joe Farrell (if it's really the Jones/Lewis band of the time, it would be Jerome, right?). No need to guess about the tenor, though, that's Billy, another guy who nobody else sounds like that. VOICE. Hello Billy!

TRACK FOUR - Not Thad Jones? Don't know if this is a New Orleans band or not, but damn, what they lack in "finesse" is more than covered by swing, pocket. You could isolate everything but that riff background and turn it into a strong hip-hop beat (hello continuum), it's there. And is that Herschel Evans on tenor? Or Chu? Whoever it is displays a fluency and tonal refinement that is different from the other players, although that trumpeter is throwing down with the sweat, for real. Lips Page Or Louis wih Luis Russell? I just don't know this era as well as I'd like. But, yeah, they're playing.

TRACK FIVE - Not sure about that tune...does that work for me? Solos, though, yeah, ok. Tenor almost sounds like early George Adams, and the trumpeter reminds me of Hannibal in the more intense moments. Those two played together with Roy Haynes, correct? Once it gets going, it would not be out of place on a Max record, Members Come Back Refreshed or something...yet there's something vaguely "European" about it, so...I don't know. Nice piece, though. Is that the real ending? WTF?

TRACK SIX - Harmon-y. I think the reverb deflects from the energy, sometimes that "spacey" thing is not a good thing, sometimes the energy takes you away to another plane anyway, no need to get all productioneerish about it. That's not trusting anybody, including yourself, not if the reverb is not built into the music itself, part of the end vision. Here it seems optional at best. All in all, I'm not convinced about what is being said here. Lots of motion, very little movement. Does running in place count as mileage? Avis, please advise.

TRACK SEVEN - Modern! Really modern, not 50-60 years old "modern". Not the tune itself, which is pretty conventional, but the construction. This type of thing, sparse groove, sound used as punctuation, silence more of the "there" than the sound, hardly ever existed in jazz before hip-hop got people to thinking about constructing a groove rather than playing one...oh wow, now it's going all Bacharach, really? I don't know that anything really "great" is happening, but somebody else can worry about that, I'm enjoying it, it's light but not trite, and that's a positive in my book. And I do hear that jazz "thing" in everybody's phrasings, not matter the construction. But that Bacharach thing, wow, that would suck so hard if it didn't work so well. Now - who is this trumpet player who's absorbed Lester so well?

TRACK EIGHT - Exotic! I'd guess either Eddie South or Ray Nance. That's not Ellington, so I'll go with Eddie South, but to where, I haven't a clue. Don't ask me, I just got here myself.

TRACK NINE - Well, that's for sure "Kids Are Pretty People", a great tune. Did anybody ever put lyrics to it? But this version is not known to me. Wow, that's some tenor playing! Nice heavy/light going back and forth in the articulations, kinda like Benny Golson only less predictable. Seems like it should be Kenny Burrell, but doesn't seem to be. I like it more just because than actually because.

TRACK TEN - No idea who these people are, which is a drag, because they all sound very personal. Jimmy Woods on alto, maybe? No matter, it hits that zone from jump and never lets go.

TRACK ELEVEN - mm-mm hmm-mm, mm-hmm, hmm hmm. Seems hard to not think that this was written/performed for some kind of commercial functionality, in which case, hope everybody got paid, especially the guitarist, who maybe was wondering why the produce and/or engineer were asking him/her for whatever it was they were asking of him/her. Sometimes they know what they're going to do with it after you do it but they don't tell you, and that can sorta fuck with you, especially when it comes out and you say hey, that sounds familiar, hey wait, is that ME?!?!?! Well I'll be damned.

TRACK TWELVE - Not qualified to venture a guess as to composer or player, but it sounds like somebody not unfamiliar with American Popular Song and not wholly immersed in it, which might not always have been a good/right place to "be" but nowadays is perhaps a darn good place to be, since it gives you options instead of restrictions.

Nice set, man, I dug it. Thanks again!

Link to comment
Share on other sites

TRACK NINE - Well, that's for sure "Kids Are Pretty People", a great tune. Did anybody ever put lyrics to it? But this version is not known to me. Wow, that's some tenor playing! Nice heavy/light going back and forth in the articulations, kinda like Benny Golson only less predictable. Seems like it should be Kenny Burrell, but doesn't seem to be.

Right?  I still think he sounded a little weird here.  It's partly the tone, but not just that.  A few very recognizable phrases, but there are moments where it sounds like somebody else was doing some heavy borrowing.  It just doesn't flow like KB usually flows.

Link to comment
Share on other sites

Listening for the first time while writing. The usual thanks and disclaimers firmly in place, away we go!

TRACK ONE - This is that Joe Marsala side with Dizzy, totally obscure as far as I know, the only way I foujnd it was stuck on the end of some Laserlight compilation that I bought for some reason. Pretty much classic in spite of its obscurity though, I think, bebop solos over chunkchunk "swing-to-bop" rhythm section, and nobody's bothered by it at all, it seems. Probably because everybody was still working it out and hadn't yet wholly settled on "do"s, still working on eliminating the "don't"s. Happy people when things are in that stage, sometimes.

Yeah, that's why I like this one. And the sentimental value -- for some reason, the 78 of this was one of the first jazz records I owned. (This was in the 1980s, mind you.)

 

TRACK THREE - That sounds like an post-60s organ record arranged by Thad Jones, so I'll confidently guess Jimmy Smith's Portuguese Soul. That was one of the new releases from Verve of the day iirc..anyway, point just being that if you blinked, you missed it, and then Verve went into semi-hibernation for a while, resuscitated for the reissue and two-fer craze, and afaik, this one has never been reissued. I bought it a few years ago and haven't really dug into it yet. This cut sounds good, and given time/place, my guess on soprano is either Jerome Richardson or Joe Farrell (if it's really the Jones/Lewis band of the time, it would be Jerome, right?). No need to guess about the tenor, though, that's Billy, another guy who nobody else sounds like that. VOICE. Hello Billy!

Yes, the "Portuguese Soul" album, which was totally unknown to me until a few months ago. Yes Billy, according to Mr. Harper himself. Now, what of the uncredited band "arranged and conducted by Thad Jones"?

 

TRACK FOUR - Not Thad Jones? Don't know if this is a New Orleans band or not, but damn, what they lack in "finesse" is more than covered by swing, pocket. You could isolate everything but that riff background and turn it into a strong hip-hop beat (hello continuum), it's there. And is that Herschel Evans on tenor? Or Chu? Whoever it is displays a fluency and tonal refinement that is different from the other players, although that trumpeter is throwing down with the sweat, for real. Lips Page Or Louis wih Luis Russell? I just don't know this era as well as I'd like. But, yeah, they're playing.

Not New Orleans, not Herschel or Chu. Lesser-knowns. But I love these guys. And yeah, recorded evidence suggests the tenor player stood out every tune, every time.

Hoping Jeff Crompton will blow through town and ID this one.

 

TRACK FIVE - Not sure about that tune...does that work for me? Solos, though, yeah, ok. Tenor almost sounds like early George Adams, and the trumpeter reminds me of Hannibal in the more intense moments. Those two played together with Roy Haynes, correct? Once it gets going, it would not be out of place on a Max record, Members Come Back Refreshed or something...yet there's something vaguely "European" about it, so...I don't know. Nice piece, though. Is that the real ending? WTF?

No George or Hannibal. Vaguely European, yes. But maybe just vaguely.

 

TRACK SIX - Harmon-y. I think the reverb deflects from the energy, sometimes that "spacey" thing is not a good thing, sometimes the energy takes you away to another plane anyway, no need to get all productioneerish about it. That's not trusting anybody, including yourself, not if the reverb is not built into the music itself, part of the end vision. Here it seems optional at best. All in all, I'm not convinced about what is being said here. Lots of motion, very little movement. Does running in place count as mileage? Avis, please advise.

This track sounds very different to me every repetition. Try again and see if the same thing happens to you.

 

TRACK SEVEN - Modern! Really modern, not 50-60 years old "modern". Not the tune itself, which is pretty conventional, but the construction. This type of thing, sparse groove, sound used as punctuation, silence more of the "there" than the sound, hardly ever existed in jazz before hip-hop got people to thinking about constructing a groove rather than playing one...oh wow, now it's going all Bacharach, really? I don't know that anything really "great" is happening, but somebody else can worry about that, I'm enjoying it, it's light but not trite, and that's a positive in my book. And I do hear that jazz "thing" in everybody's phrasings, not matter the construction. But that Bacharach thing, wow, that would suck so hard if it didn't work so well. Now - who is this trumpet player who's absorbed Lester so well?

The Bacharach thing hadn't occurred to me, but I guess it was always in my subconscious. Now I have to ask the guy who wrote the song about it.

 

TRACK EIGHT - Exotic! I'd guess either Eddie South or Ray Nance. That's not Ellington, so I'll go with Eddie South, but to where, I haven't a clue. Don't ask me, I just got here myself.

It's Mr. Floorshow, but Duke hadn't gotten there yet when this was made. Still waiting for a fuller ID.

 

TRACK NINE - Well, that's for sure "Kids Are Pretty People", a great tune. Did anybody ever put lyrics to it? But this version is not known to me. Wow, that's some tenor playing! Nice heavy/light going back and forth in the articulations, kinda like Benny Golson only less predictable. Seems like it should be Kenny Burrell, but doesn't seem to be. I like it more just because than actually because.

Michael Weiss provided the ID. Interesting that a couple of people were reminded of Golson. Also interesting that people are picking up the there-but-not-there quality of Burrell's playing. It seems that way throughout the album. A vibe problem, like maybe the rest of the band was mad at him, or he at them.

 

TRACK TEN - No idea who these people are, which is a drag, because they all sound very personal. Jimmy Woods on alto, maybe? No matter, it hits that zone from jump and never lets go.

Thom Keith has a partial ID.

 

TRACK ELEVEN - mm-mm hmm-mm, mm-hmm, hmm hmm. Seems hard to not think that this was written/performed for some kind of commercial functionality, in which case, hope everybody got paid, especially the guitarist, who maybe was wondering why the produce and/or engineer were asking him/her for whatever it was they were asking of him/her. Sometimes they know what they're going to do with it after you do it but they don't tell you, and that can sorta fuck with you, especially when it comes out and you say hey, that sounds familiar, hey wait, is that ME?!?!?! Well I'll be damned.

Mmm-hmm. Yes, I'd bet money or property that this album was the producer's idea. But a good idea nonetheless.

 

TRACK TWELVE - Not qualified to venture a guess as to composer or player, but it sounds like somebody not unfamiliar with American Popular Song and not wholly immersed in it, which might not always have been a good/right place to "be" but nowadays is perhaps a darn good place to be, since it gives you options instead of restrictions.

There seems to be general reluctance in BFT land to dealing with this track, and that's OK, I expected that. The player certainly didn't grow up in the jazz language, but the connection here is profound.

The composer is "Somebody not unfamiliar with American Popular Song and not wholly immersed in it," yes yes yes! A whole life devoted to "options instead of restrictions." You got it. 

Muchas gracias.

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

  • Recently Browsing   0 members

    • No registered users viewing this page.

×
×
  • Create New...