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Well, here ‘tis, folks; BFT138.

Here’s the link, graciously provided by Thom, for which many thanks:

http://www.thomkeith.com/tkbft/tkbft.html

21 tracks in the BFT, plus 1 bonus, which I decided was really too obscure, but really interesting, to be fair. But I wanted people to hear it :) Everything else is either easy or difficult, but not impossible.

Late comers, as ever, are welcome.

Enjoy greatly!

MG

Edited to add Sendspace link for downloads

https://www.sendspace.com/file/034q4w

MG

 

Edited by The Magnificent Goldberg
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Track 5

"Minor Mishap" (Flanagan) from Pepper Adams, The Critics' Choice with Adams (bar), Lee Katzman (tpt), Jimmy Rowles(pno), Doug Watkins (bs), Mel Lewis (dms), recorded 1957.

Lovely stuff!

 

Track 7

"Theme for Ernie"

 

Track 10

A tune played by the Jazz Messengers, but not them here, I think.

Edited by BillF
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Wow! That was quick!

But it's wrong. I haven't heard of Don Sleet, either :D

 

MG

Are you sure about that, M G? I'm listening to what's on Track 1 and to the Don Sleet track on Spotify and they're identical! Wires crossed? Further investigation needed?

Got to be frank, Bill, it DOES sound like you're listening to something completely different. It's the start of term for Thom and he said his personal life goes hang at this junction, but I'm getting the same music as aparxa got - he got the title right, anyway.

As Thom didn't do it, I'm now going to add a Sendspace address for downloads.

MG

Wow! That was quick!

But it's wrong. I haven't heard of Don Sleet, either :D

 

MG

Are you sure about that, M G? I'm listening to what's on Track 1 and to the Don Sleet track on Spotify and they're identical! Wires crossed? Further investigation needed?

Several different bunches of tunes appear on Thom's Wimpy playlist. I just listened to the second one in the list, which starts with about 40 seconds of quiet drum intro, then a baritone sax solo. Are you listening to the wrong one?

MG

Track 1 "Brooklyn Bridge" from Don Sleet, All Members with Sleet (tpt), Jimmy Heath (tnr), Wynton Kelly (pno), Ron Carter (bs) and Jimmy Cobb (dms), recorded 1961.

Wonderful album by an almost unheard of leader!

Taboooooooooooo!

 

Correct title, young sir - many thanks for at least proving that Thom hadn't messed it all up.

MG

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M G and aparxa : It's obvious from what you say that what I'm getting out of the Wimpy player is something completely different from you. Track 1 isn't as aparxa identifies and track 2 isn't as described by M G. I take it then that track 5 shouldn't be playing  Pepper Adams, "Minor Mishap", which I'm 100% sure it is for me.

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I think I should quietly give up at this point.<_<

Don't give up, Bill. I think you may have to let the player settle down before clicking on anything. But the playlist - or whatever the thing's called - is labelled Organissimo BFT138. It seems to come out on top of a list of less obvious titles. So if it ain't at the top, scroll up. Click once on that one and you get a bunch of tracks titled 01 BFT138, 02 BFT138 and so on, down to 22 Bonus. That's it.

MG

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OK I think I got it this time.

The only one I feel pretty certain of is Track 15 which I think is Avery Parrish's "After Hours", quite a hit in its time, I believe.

Track 10 sounds like "Rocks in my Bed" and because of the Ellington connections, I'll guess at Rex Stewart and Ray Nance.

Track 2 sounds like Harold Mabern.

Track 14 is "Things Aint What They Used to Be" and  Wild Bill Davis would be a wild guess.

Track 19 reminds me of T Bone Walker, but probably isn't.

Once I've established I'm on the right set of tunes, I'll give them a more careful listening!

 

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Trying something different this time, downloaded file to phone, listening on phone while at work, so this might get fragmented...

No matter, the usual thanks and disclaimers remain firmly in place, so away we go.

TRACK ONE - Perez Prado. No idea who the extreme plunger trumpet is, but by this time, Prado was using a lot of L.A. studio guys on his records, so it might be a "surprising" name!

TRACK TWO - Can't say that it failed to hold my interest, as it never really got it. Long vamp on the beginning leading into a nice but severely overplayed tune, that Black Orpheus song...it might be McCoy, but I really hope not. Really not digging that drummer, sounds like somebody totally misunderstanding (or, perhaps, misappropriating) latter-day Tony Williams. I mean, everybody's obviously a good player, and I'm sure they mean what they say, it's just that...not feeling it right now, none of it. "Strumming guitar" piano is not enough of a difference to make one.

TRACK THREE - Oh crap, I know that voice...or apparently not...but that voice and that two sax horn section, SO familiar...and again, apparently not. But it sure sounds good, I like that. Es Cubano, no?

TRACK FOUR - Perez Prado again, but earlier than the first one. "Pianolo". Earlier Prado is pretty intense and inventive. Gimmicky sometimes, but in the Don Ellis way of being willing to try anything once, more than once if it feels good. This is dated as 1950, so the dissonances might ave been "gimmicky" (and perhaps inspired in part by Stan Kenton), but they were also knowing. Props to Prado in my book, if not Unconditional Love. But that earlier stuff, yeah, let me hear that!

TRACK FIVE - Dude's looking to throw down! Guitar player is interesting. Sounds more "African" than "Latin" to me, not sure how that plays out in reality, though. Pretty smokin' cut, no matter what.

TRACK SIX - Plas Johnson? No? Hal Singer? Gator, maybe? Not sure who put the tympani in there, seems like that's relevant. Beautiful cut, phrasing is just right, tone meets rhythm in that sweet spot that only happens when it's real. Love this one.

TRACK SEVEN - A Night In Nocturne. SO glad the intro was just a trick. Don't think that's Hank Crawford, almost sounds like Red Holloway playing alto...no idea, really. It's good, but I'd like to hear the rest of the record before saying how good. Everything sounds real on this one track, but...fakery abounds these days, and over the long haul gets exposed. But yeah, Red Holloway on alto?

TRACK EIGHT - Like the chromatic coda, but otherwise, would not string along with this, much less risk getting strung out on it...it's exaggerated subtlety, if that makes any sense.

TRACK NINE - Tenor violin? The only tenor violinist I can name is Harry Lookofsky. But it sounds like the organist's date. It's cheesy as hell, but in all the right ways. At 2:18, the perfect length to get lost in all the things that are happening, all of which are good. I really like the guitar, a part like that, he margin for error is incredibly high, really one one or two ways to get it right, and this is one of them. Kenny Burrell?

TRACK TEN - "Rocks In My Bed" or so it begins. Cootie-ish trumpet. Piano player is crazy like Earl Hines. Oh, and here's some violin, quoting "The Champ". And now guitar, for some reason. Maybe some Ellingtonia? Maybe not?

TRACK ELEVEN - The only vocal version of this I know is Johnny Griffin's on Okeh, and this is not that. This one kinda sounds like it was recorded by RCA, so that opens up all kinds of possibilities, which is another way of saying that I have no idea. :g

TRACK TWELVE - Now that's an odd one! On my phone, the tenor's tone sounds like early John Gilmore.But it's a little too glib for Gilmore? No idea, really, it's an interesting combination of ingredients from all angles.

TRACK THIRTEEN - Roy Eldridge? Not Pete Brown? Vic Dickenson? Sounds like one of those mid-40s indie things that got reissued so much on Savoy in the mid/late 70s. At some point they all sorta blend together, which is not a bad thing, really, but makes for a rough go when it comes to sleuthing, which is also not a bad thing.

TRACK FOURTEEN - Well, they never are, are they. Not sure if I understand the purpose of this record...lots of Ellington "effects", but to waht end? If it's jsut to be "entertaining", well, I guess puzzlement of purpose is its own form of entertainment...but it sounds too real to be that superficial, so, what was the object of the record? A quick one for a 45, or a side-closer of an LP? A juicy throwaway at session's end? I'm left wanting more, and in this case, it feels like more is there to be had. But isn't. So,,,not sure.

TRACK FIFTEEN - "After Hours", is there any trick to this one, or is this just straight-up the original? That thing stayed popular for years, probably still is on jukeboxes somewheres. And with good reason.

TRACK SIXTEEN - What have we got here, one of those Prestige/Bluesville things? It's good, and I always like hearing the alto played hard like that. Is that Tiny Grimes on acoustic guitar?

TRACK SEVENTEEN - Same guitarist? Jack McVea? Sounds a little insincere/calculating/whatever, to be honest, more like porn. Not really feeling the love here.

TRACK EIGHTEEN - More sproingy guitar, surely not the same guy/girl again? Be-Bop T-Bone, the only name that comes readily to mind is, again, Tiny Grimes. Although, other possibilities, no doubt. Sounds like the same band as the last one, only with echo added. this style of tenor playing devolved so far into Hack Hell, that even if this is somebody good and sincere (and geez, I hope it's not Lynn Hope...), it almost doesn't matter...especially when applied to alto...you've not been music-violated until you get some guy up on the stand armed with just a horn, a figurative (or literal) hardon, and the inability to do nothing more than swoop and slur like this and, oh yeah, they're always dressed up too much to be serious, but seriousness does not stop them, nothing does, world gone wrong, cheapness in not your friend, ever, better to be poor than cheap.

TRACK NINETEEN - Same thing, only not cheap. Thank you.

TRACK TWENTY - Big Maybelle! At long last, love! I thought I loved Dakota Staton's version until I heard this one. Then I realized that there's more than one kind of love, and some of them don't involve having anything to say about it, such as this thing here.

TRACK TWENTY-ONE - Ok, yeah, I still love this, used to get played with hard regularity on a Sunday afternoon jazz show on KZEY-AM, Soul 69, Tyler Texas. For years, I jsut assumed the arrangement was a slackerly Thad Jones, but no, Manny Albam, didn't see that one coming. No disrespectto Dakota, there was only one Big Maybelle, appearances notwithstanding, so, what can I say? Love is strange.

TRACK TWENTY-TWO - Yeah, that is interesting, when was this recorded? Seems like the influence of "Stormy Monday" was in the air. and that's a groove you could lay down and take a nap on. Is that French? Is he talking dirty? I wish French food tasted as dirty as the sound of the language, to be honest, I'm not really into eggs and sauces and all that rolled into one light plateful, with or without mustard. And I don't really like wine, either. Yet this song holds a strange appeal for me, precisely because it is music, not food. Members, don't get weary, beginners, take heed.

So, wow, that was a lot of songs,especially while also working. But I got a new app on my phone for zip files, and it works. First Smartphone BFT I've ever worked with, but, still, not going to post responses via phone, only have two thums and 24 hours in a day to work with. But the music was mostly excellent, for which I am always grateful. So, thank you!

 

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OK I think I got it this time.

The only one I feel pretty certain of is Track 15 which I think is Avery Parrish's "After Hours", quite a hit in its time, I believe.

Track 10 sounds like "Rocks in my Bed" and because of the Ellington connections, I'll guess at Rex Stewart and Ray Nance.

Track 2 sounds like Harold Mabern.

Track 14 is "Things Aint What They Used to Be" and  Wild Bill Davis would be a wild guess.

Track 19 reminds me of T Bone Walker, but probably isn't.

Once I've established I'm on the right set of tunes, I'll give them a more careful listening!

 

 

Yes to 15 - it's Avery Parrish's 'After hours'. By whom?

10 does sound a bit like 'Rocks', but isn't. Nance is in there, but not Cootie.

2 Is indeed Harold Mabern.

14 Is indeed Wild Bill Davis. Any idea about the sidemen?

19 definitely isn't T-Bone, who was a lot better than this gent.

Two ticks and two half ticks, Bill. Well done.

MG

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OK I think I got it this time.

The only one I feel pretty certain of is Track 15 which I think is Avery Parrish's "After Hours", quite a hit in its time, I believe.

Track 10 sounds like "Rocks in my Bed" and because of the Ellington connections, I'll guess at Rex Stewart and Ray Nance.

Track 2 sounds like Harold Mabern.

Track 14 is "Things Aint What They Used to Be" and  Wild Bill Davis would be a wild guess.

Track 19 reminds me of T Bone Walker, but probably isn't.

Once I've established I'm on the right set of tunes, I'll give them a more careful listening!

 

 

 

Yes to 15 - it's Avery Parrish's 'After hours'. By whom?

10 does sound a bit like 'Rocks', but isn't. Nance is in there, but not Cootie.

2 Is indeed Harold Mabern.

14 Is indeed Wild Bill Davis. Any idea about the sidemen?

19 definitely isn't T-Bone, who was a lot better than this gent.

Two ticks and two half ticks, Bill. Well done.

MG

Pleased to get 2 1/2, M G. Re 10, I said Rex Stewart, not Cootie, but I suppose it isn't him either.

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TRACK ONE - Perez Prado. No idea who the extreme plunger trumpet is, but by this time, Prado was using a lot of L.A. studio guys on his records, so it might be a "surprising" name!

A tick for this one, Jim. Yes, it's Perez Prado. My able informant (Chuck) tells me this cut, which appears to have been recorded in 1956, isn't listed in either of the discographies which contain some Prado details, and I've failed to find anything out about it on the web, so the trumpet player will have to remain as anonymous as ever.

TRACK TWO - Can't say that it failed to hold my interest, as it never really got it. Long vamp on the beginning leading into a nice but severely overplayed tune, that Black Orpheus song...it might be McCoy, but I really hope not. Really not digging that drummer, sounds like somebody totally misunderstanding (or, perhaps, misappropriating) latter-day Tony Williams. I mean, everybody's obviously a good player, and I'm sure they mean what they say, it's just that...not feeling it right now, none of it. "Strumming guitar" piano is not enough of a difference to make one.

Sorry you don't like this one much. Bill got the piano player.

TRACK THREE - Oh crap, I know that voice...or apparently not...but that voice and that two sax horn section, SO familiar...and again, apparently not. But it sure sounds good, I like that. Es Cubano, no?

Es Cubano NOT.

This is a pretty hard one.

TRACK FOUR - Perez Prado again, but earlier than the first one. "Pianolo". Earlier Prado is pretty intense and inventive. Gimmicky sometimes, but in the Don Ellis way of being willing to try anything once, more than once if it feels good. This is dated as 1950, so the dissonances might ave been "gimmicky" (and perhaps inspired in part by Stan Kenton), but they were also knowing. Props to Prado in my book, if not Unconditional Love. But that earlier stuff, yeah, let me hear that!

Tick #2 for Jim. Yes, it's from Prado's first LP on RCA Victor, a 10 inch - LPM21 would you believe? Found this in Paris Jazz Corner in July and HAD to put this cut in. Again, this isn't in Chuck's discographies, but Prado was a pianist and I reckon it must be him on piano.

TRACK FIVE - Dude's looking to throw down! Guitar player is interesting. Sounds more "African" than "Latin" to me, not sure how that plays out in reality, though. Pretty smokin' cut, no matter what.

Not, as I said African. And some of this material, as I also said, is more or less (in this case less) authentic. Hope Jeff gets into this because he'll get it.

TRACK SIX - Plas Johnson? No? Hal Singer? Gator, maybe? Not sure who put the tympani in there, seems like that's relevant. Beautiful cut, phrasing is just right, tone meets rhythm in that sweet spot that only happens when it's real. Love this one.

I dunno what answer you're giving here, but I'll give you the benefit of the doubt - yes, it's Plas Johnson, masquerading as Johnny Beecher. That should enable you to put the rest of the band together. Tick #3.

TRACK SEVEN - A Night In Nocturne. SO glad the intro was just a trick. Don't think that's Hank Crawford, almost sounds like Red Holloway playing alto...no idea, really. It's good, but I'd like to hear the rest of the record before saying how good. Everything sounds real on this one track, but...fakery abounds these days, and over the long haul gets exposed. But yeah, Red Holloway on alto?

Not Hank Crawford. Not Red Holloway, either. Not even almost Red Holloway. I'd have taken a bet on you having this album, but I haven't been through your enormous collection with a fine toothcomb. But it IS someone you know well.

TRACK EIGHT - Like the chromatic coda, but otherwise, would not string along with this, much less risk getting strung out on it...it's exaggerated subtlety, if that makes any sense.

I think you're going to be surprised at the end of the month.

TRACK NINE - Tenor violin? The only tenor violinist I can name is Harry Lookofsky. But it sounds like the organist's date. It's cheesy as hell, but in all the right ways. At 2:18, the perfect length to get lost in all the things that are happening, all of which are good. I really like the guitar, a part like that, he margin for error is incredibly high, really one one or two ways to get it right, and this is one of them. Kenny Burrell?

Never heard of a tenor violin. The sleeve just sez violin. Kenny Burrell isn't the guitarist.

TRACK TEN - "Rocks In My Bed" or so it begins. Cootie-ish trumpet. Piano player is crazy like Earl Hines. Oh, and here's some violin, quoting "The Champ". And now guitar, for some reason. Maybe some Ellingtonia? Maybe not?

Well, let the Ellingtonia experts come to the rescue.

TRACK ELEVEN - The only vocal version of this I know is Johnny Griffin's on Okeh, and this is not that. This one kinda sounds like it was recorded by RCA, so that opens up all kinds of possibilities, which is another way of saying that I have no idea. :g

Not recorded by RCA, so close all those possibilities down. It was recorded by a well known indie label.

TRACK TWELVE - Now that's an odd one! On my phone, the tenor's tone sounds like early John Gilmore.But it's a little too glib for Gilmore? No idea, really, it's an interesting combination of ingredients from all angles.

Another one you'll be surprised by at the end of the month. Oh, not John Gilmore.

TRACK THIRTEEN - Roy Eldridge? Not Pete Brown? Vic Dickenson? Sounds like one of those mid-40s indie things that got reissued so much on Savoy in the mid/late 70s. At some point they all sorta blend together, which is not a bad thing, really, but makes for a rough go when it comes to sleuthing, which is also not a bad thing.

None of those names are correct, Jim, but yes, it's a mid-forties indie thing but not on a Savoy-owned label.

TRACK FOURTEEN - Well, they never are, are they. Not sure if I understand the purpose of this record...lots of Ellington "effects", but to waht end? If it's jsut to be "entertaining", well, I guess puzzlement of purpose is its own form of entertainment...but it sounds too real to be that superficial, so, what was the object of the record? A quick one for a 45, or a side-closer of an LP? A juicy throwaway at session's end? I'm left wanting more, and in this case, it feels like more is there to be had. But isn't. So,,,not sure.

Bill got part of this one.

TRACK FIFTEEN - "After Hours", is there any trick to this one, or is this just straight-up the original? That thing stayed popular for years, probably still is on jukeboxes somewheres. And with good reason.

I think you're guessing that this IS the original. If you are, that's another tick for you, Jim.

TRACK SIXTEEN - What have we got here, one of those Prestige/Bluesville things? It's good, and I always like hearing the alto played hard like that. Is that Tiny Grimes on acoustic guitar?

Yes, this is from Prestige. It's not Tiny Grimes.

TRACK SEVENTEEN - Same guitarist? Jack McVea? Sounds a little insincere/calculating/whatever, to be honest, more like porn. Not really feeling the love here.

Not the same guitarist. Possibly not Jack McVea. Discographies don't mention even that there was a tenor player on this, so the ID of this man must remain imperfectly fathomable.

TRACK EIGHTEEN - More sproingy guitar, surely not the same guy/girl again? Be-Bop T-Bone, the only name that comes readily to mind is, again, Tiny Grimes. Although, other possibilities, no doubt. Sounds like the same band as the last one, only with echo added. this style of tenor playing devolved so far into Hack Hell, that even if this is somebody good and sincere (and geez, I hope it's not Lynn Hope...), it almost doesn't matter...especially when applied to alto...you've not been music-violated until you get some guy up on the stand armed with just a horn, a figurative (or literal) hardon, and the inability to do nothing more than swoop and slur like this and, oh yeah, they're always dressed up too much to be serious, but seriousness does not stop them, nothing does, world gone wrong, cheapness in not your friend, ever, better to be poor than cheap.

Well, It's STILL not Tiny Grimes. I WILL tell you this is part 2 of track 17.

TRACK NINETEEN - Same thing, only not cheap. Thank you.

No IT'S STILL NOT TINY EFFIN' GRIMES!!!! :D

TRACK TWENTY - Big Maybelle! At long last, love! I thought I loved Dakota Staton's version until I heard this one. Then I realized that there's more than one kind of love, and some of them don't involve having anything to say about it, such as this thing here.

YESSSSS! My thought, precisely, about the two versions. Tick #5.

TRACK TWENTY-ONE - Ok, yeah, I still love this, used to get played with hard regularity on a Sunday afternoon jazz show on KZEY-AM, Soul 69, Tyler Texas. For years, I jsut assumed the arrangement was a slackerly Thad Jones, but no, Manny Albam, didn't see that one coming. No disrespectto Dakota, there was only one Big Maybelle, appearances notwithstanding, so, what can I say? Love is strange.

But I couldn't resist putting them both on, one after the other. Tick #6

TRACK TWENTY-TWO - Yeah, that is interesting, when was this recorded? Seems like the influence of "Stormy Monday" was in the air. and that's a groove you could lay down and take a nap on. Is that French? Is he talking dirty? I wish French food tasted as dirty as the sound of the language, to be honest, I'm not really into eggs and sauces and all that rolled into one light plateful, with or without mustard. And I don't really like wine, either. Yet this song holds a strange appeal for me, precisely because it is music, not food. Members, don't get weary, beginners, take heed.

This one is, in fact, the most recent cut in the bunch, except for the Mabern. It was done in 1978. It's a tri- or possibly quadri-lingual song. Certainly there are choruses in French, Spanish and English, plus maybe another language or maybe not another language; maybe just a lot of words I don't understand in French or Spanish.

So, wow, that was a lot of songs,especially while also working. But I got a new app on my phone for zip files, and it works. First Smartphone BFT I've ever worked with, but, still, not going to post responses via phone, only have two thums and 24 hours in a day to work with. But the music was mostly excellent, for which I am always grateful. So, thank you!

Really glad you enjoyed it, Jim.

MG

OK I think I got it this time.

The only one I feel pretty certain of is Track 15 which I think is Avery Parrish's "After Hours", quite a hit in its time, I believe.

Track 10 sounds like "Rocks in my Bed" and because of the Ellington connections, I'll guess at Rex Stewart and Ray Nance.

Track 2 sounds like Harold Mabern.

Track 14 is "Things Aint What They Used to Be" and  Wild Bill Davis would be a wild guess.

Track 19 reminds me of T Bone Walker, but probably isn't.

Once I've established I'm on the right set of tunes, I'll give them a more careful listening!

 

 

 

Yes to 15 - it's Avery Parrish's 'After hours'. By whom?

10 does sound a bit like 'Rocks', but isn't. Nance is in there, but not Cootie.

2 Is indeed Harold Mabern.

14 Is indeed Wild Bill Davis. Any idea about the sidemen?

19 definitely isn't T-Bone, who was a lot better than this gent.

Two ticks and two half ticks, Bill. Well done.

MG

Pleased to get 2 1/2, M G. Re 10, I said Rex Stewart, not Cootie, but I suppose it isn't him either.

So you did! Well, you're right, it's not him, either.

Gotta say, this cut needs a real Ellingtonia man - preferably English.

MG

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TRACK NINETEEN - Same thing, only not cheap. Thank you.

 

Thinking about this while I was out in the back garden, having a quick cough and drag, I decided you were probably wrong about this. It's definitely supermarket own brand. I think you may agree at the end of the month :g

MG

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re: After Hours, yes, Erskine Hawkins, if that needs stating for the record.

And Plas as Beecher...if there was only one Johnny Beecher album, I have it. Don't recall anything about it, though, and sure don't remember anything "exotic" like this. But Plas ALMOST had me thinking it was somebody else...or maybe it was my phone "speaker". But that guy, it's like a fingerprint, there's only so much disguising you can do, ya' know?

the alto on "Night..". I may very well have that record...it sounds familiar...but it's been a while since I've really done any "retro" lsitening in regards t o my collection, I really like a steady influx of new (to me) things, and have for a while now. But I'm trying to think of who it might be...somebody like in the Johnny Otis or, on the other coast, Arthur/Red Prysock circuit...Jackie Kelso, Rusty Bryant, somebody like that. The cat's in no way bullshitting, the horn is being palyed with full command and feeling, I really like it. But I don't have a name handy, just a "type".

That Wild Bill cut..unexpected!

WBD_And%20His%20Real%20Gone%20Organ_back

Even more so!

http://3.bp.blogspot.com/-YTKz7EChtOk/U-OV4o4RMMI/AAAAAAAAEME/yc-9CQyzCXc/s1600/Wild+Bill.jpg

Gotta be Rusty Bryan, everything fits: http://www.discogs.com/Rusty-Bryant-For-The-Good-Times/release/1045460

Do not own the record, but definitely have the music in my collection. I know of no Rusty Bryan records that aren't at least as good as this one, no matter the material, you knwo it was going to be played right.

The man could play, and not just "interpret". Play.

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There were two Johnny Beecher LPs, Jim. The other one (whichever you've got) is pretty much like the one you have got, whichever that is. This cut was on the A side of one of the tracks on one of those LPs, but was never issued on those LPs - well, of course, it just WOULDN'T fit, would it? And has, as far as I know, never come out on CD or anything. I bought mine in 1964 and it's one I've been so attached to forever, I've kept it through thick and thin, good times and bad, and still dig it out to play it. Now I've ripped it to my hard drive, I can listen to it more easily and may get tired of it. but after fifty-one years of listening... I don't think so.

You're getting very warm on 'Night in Tunisia'. I think you'll get it soon, so I'm not going to say :)

And 'Things ain't what they used to be' is dead right! Another tick for you. I wondered if anyone would get the pretty good piano player. Sent the BFT off in advance to my mate and he howled when I told him who it was (He got Plas Johnson, though, and knows the title, too, 'cos he has the 45 as well. So, how about constructing the complete personnel, Jim?)

MG

Edited by The Magnificent Goldberg
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I think I got "Night..." must've had my rely merged before you saw the end results.

Also, personnel on "Things..." check the link-only image, also in the spot that get merged with one already there...the piano sound on that is pretty out there, really brittle and aggressive in quality, not jsut in playing, recorded sound. Crazy!

The Plas Beecher cut, wow. By any measure a treasure.

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