BFT138 discussion

[lipi]

TheMG pinged me and said there was Ellingtonia in here, so I had a bit of an advantage with that hint going in. Maybe. Unclear.

1-7: No clue, no knowledge, no nothing. There be Latin things goin' on. Some of them sound pretty good, but what do I know? Maybe they're terrible!

8: "I'll String Along with You", sometime in the 40's, I suspect. I have no idea who, though. One of those ubiquitous sister groups? King Sisters, maybe? And then this would be Alvino Rey, maybe?

9: Well, it's "Caravan", but this'd better not be the Ellingtonia I was called in for... It's kinda fun, though. Like an anime soundtrack. (I promise that's not just a dig at all those people calling 20's and 30's music cartoon music.)

10: Oh, this might be what I was called for. What on earth is this? It's...well, it's not Ellington, let's get that out of the way. They sure are trying in parts, though. That trumpet is straining to sound like some bizarre mix of Cootie and Bubber and Rex and everyone. Violin, but not Nance, I think, because I refuse to believe this is Duke. As mentioned last month, though, I can't identify violins to save my life. And then there's that Armstrong-like lick (it's not Satchmo, but they're clearly imitating) at the end (or is that an attempt at Cat Anderson...?). Yeah, no idea, man. It's good, but I kinda feel like Ellington would have done it better. Is this some sort of modern homage to Ellington and Blanton or Braud? I enjoyed it. Will probably end up buying whatever this is.

11: This isn't Ellingtonia. This is some fun jump bluesy thing. I think this is Amos Milburn, maybe. Fun! Yeah, I like the guess of Amos. Is it him? I want this.

12: Uh-oh. Organ plus Ellingtonian horn voicings (or am I just starting to hear Ellington everywhere now?). No ideas, though.

13: More jumps bluesy things, this time with more of a boogie woogie feel. Earlier than 11, me thinks. I like that trumpet. Could that be Eldridge? This thing is really building in intensity. That drummer is driving it along fine! Oh, I like that alto (yes?), too! Yeah, it's an alto. Solo is a little repetitive, but I am enjoying it. Some nice tone there. Trombone is also nice--and that freakin' drummer just keeps on cooking! Who is that? Anyway, great stuff. Loving it. No idea. Eldridge, maybe, and some other dudes or dudettes. Christ, I'm terrible at this. I want to dance around. And...one of those weird endings where it sounds like the jukebox just exploded and spewed springs and cogs all over the place. I want this. GIMME.

14: "Things Ain't What They Used to Be". Organ. I have zero clues. Once more, I hope this is not the (Mercer) Ellingtonia I was called in for.

15: Erskine Hawkins. I listened to a whole bunch of his stuff a few weeks ago for a DJ'ing gig that fell around his birthday. Can't recall the name of this, though. Early 40's. Good stuff.

16: Meh, it's not my thing. No ideas, either.

17: Pianist falls between boogie woogie and Oscar Peterson (does that make sense to anyone but me?). Sax is starting to sound like R&B to me. Is this 1950's? It's kinda fun. No clue, I'm afraid, who this is.

18: These guys sound a lot like the guys in number 17. Same era, definitely. Again, no clue, though.

19: More 1950's stuff. We're almost in rock and roll territory here. Are we slowly moving forward in time? That's not Jerry Lee on the piano, but, you know, we're not that far away. Man, they're just teasing me with rock and roll stuff. At 2:13 the guitarist plays a Chuck Berry lick: it's almost the beginning of "You Never Can Tell". I don't know. Some early rock and roll guys taking it easy on an instrumental.

20: Yeaaaaaaaah! Ain't she just got the voice? Big Maybelle. "Country Man". She needs a man, people!

21: Well. Someone else apparently needs a man. Clearly modern. Barbara Morrison, maybe? I don't like it as much as 20, but it's pretty good. I like the singer more than the backing orchestra. Fade out! Sad!

22: Some fun creole thing. I have no clues. I mean, it sounds island-y, but that's not much to go on. I like it, though I didn't need nine minutes of it.  (And I didn't need the flute. That's one of those instruments I don't get most of the time.) Reminds me a little of some of the New Orleans creole things (though it's not).

A lot of question marks, and I fear I let TheMG down on whatever Ellington connexion I was supposed to pick up.  Really, really enjoyed this BFT, though. I will definitely end up buying some of this stuff.

Edited September 5, 2015 by lipi

[The Magnificent Goldberg]

Well, you surprised me by what you did and didn't get, Alex!

 

TheMG pinged me and said there was Ellingtonia in here, so I had a bit of an advantage with that hint going in. Maybe. Unclear.

1-7: No clue, no knowledge, no nothing. There be Latin things goin' on. Some of them sound pretty good, but what do I know? Maybe they're terrible!

8: "I'll String Along with You", sometime in the 40's, I suspect. I have no idea who, though. One of those ubiquitous sister groups? King Sisters, maybe? And then this would be Alvino Rey, maybe?

Yes, another of the ubiquitous sister groups, but not the Kings, and not Alvino Rey.

9: Well, it's "Caravan", but this'd better not be the Ellingtonia I was called in for... It's kinda fun, though. Like an anime soundtrack. (I promise that's not just a dig at all those people calling 20's and 30's music cartoon music.)

No, no one from the Ellington ambit playing here.

10: Oh, this might be what I was called for. What on earth is this? It's...well, it's not Ellington, let's get that out of the way. They sure are trying in parts, though. That trumpet is straining to sound like some bizarre mix of Cootie and Bubber and Rex and everyone. Violin, but not Nance, I think, because I refuse to believe this is Duke. As mentioned last month, though, I can't identify violins to save my life. And then there's that Armstrong-like lick (it's not Satchmo, but they're clearly imitating) at the end (or is that an attempt at Cat Anderson...?). Yeah, no idea, man. It's good, but I kinda feel like Ellington would have done it better. Is this some sort of modern homage to Ellington and Blanton or Braud? I enjoyed it. Will probably end up buying whatever this is.

Wait until you see what it is!!! Well, this and 3 other cuts are from an EP which, if you can find it, you'll probably enjoy. And yes, it IS Ellingtonia.

11: This isn't Ellingtonia. This is some fun jump bluesy thing. I think this is Amos Milburn, maybe. Fun! Yeah, I like the guess of Amos. Is it him? I want this.

  Your getting this one right is a big surprise to me. Yes, it's Amos, who you probably know ran a territory big band in Houston before he went to LA and became a successful R&B man. This is actually early fifties, not him with his Houston band. Big tick for this one.

12: Uh-oh. Organ plus Ellingtonian horn voicings (or am I just starting to hear Ellington everywhere now?). No ideas, though.

13: More jumps bluesy things, this time with more of a boogie woogie feel. Earlier than 11, me thinks. I like that trumpet. Could that be Eldridge? This thing is really building in intensity. That drummer is driving it along fine! Oh, I like that alto (yes?), too! Yeah, it's an alto. Solo is a little repetitive, but I am enjoying it. Some nice tone there. Trombone is also nice--and that freakin' drummer just keeps on cooking! Who is that? Anyway, great stuff. Loving it. No idea. Eldridge, maybe, and some other dudes or dudettes. Christ, I'm terrible at this. I want to dance around. And...one of those weird endings where it sounds like the jukebox just exploded and spewed springs and cogs all over the place. I want this. GIMME.

Some of those cuts done in December 1947, to enable labels to stockpile material they could release during the Musicians' Union strike, were done under so much pressure that odd endings didn't justify doing another take or maybe they ran out of studio time. This was the eighth and final track recorded at one of those sessions. Normally you only got four tracks but, under pressure, the label proprietor would say, "just play something guys", and they would. And the corollary was that they'd get whatever musicians were hanging around to make up a band. That's how to get real improvisation.

14: "Things Ain't What They Used to Be". Organ. I have zero clues. Once more, I hope this is not the (Mercer) Ellingtonia I was called in for.

Well, you'll see that Bill and Jim eventually figured this out. They were still dithering when I sent you that message.

15: Erskine Hawkins. I listened to a whole bunch of his stuff a few weeks ago for a DJ'ing gig that fell around his birthday. Can't recall the name of this, though. Early 40's. Good stuff.

Yes, it's Erskine Hawkins playing the original version of the original Black National Anthem, 'After hours'. Another tick.

16: Meh, it's not my thing. No ideas, either.

Now that surprises me.

17: Pianist falls between boogie woogie and Oscar Peterson (does that make sense to anyone but me?). Sax is starting to sound like R&B to me. Is this 1950's? It's kinda fun. No clue, I'm afraid, who this is.

18: These guys sound a lot like the guys in number 17. Same era, definitely. Again, no clue, though.

Yes, 18 is part 2 of 17. Two guys in this one you should be familiar with.

19: More 1950's stuff. We're almost in rock and roll territory here. Are we slowly moving forward in time? That's not Jerry Lee on the piano, but, you know, we're not that far away. Man, they're just teasing me with rock and roll stuff. At 2:13 the guitarist plays a Chuck Berry lick: it's almost the beginning of "You Never Can Tell". I don't know. Some early rock and roll guys taking it easy on an instrumental.

Bloomin' 'eck, Tucker! I didn't think anyone would get this. Yes, it's Chuck Berry. Johnnie Johnson, the original leader of the band when they played jazz in St Louis, is the pianist. A VERY big tick for that one!

20: Yeaaaaaaaah! Ain't she just got the voice? Big Maybelle. "Country Man". She needs a man, people!

Yup! Another tick! You're much better at this R&B/Rock stuff than I ever gave you credit for.

21: Well. Someone else apparently needs a man. Clearly modern. Barbara Morrison, maybe? I don't like it as much as 20, but it's pretty good. I like the singer more than the backing orchestra. Fade out! Sad!

Jim got this one. One of my favourite singers, 19 years after Big Maybelle's recording. Yeah, not as good, but I wasn't gonna leave this out.

22: Some fun creole thing. I have no clues. I mean, it sounds island-y, but that's not much to go on. I like it, though I didn't need nine minutes of it.  (And I didn't need the flute. That's one of those instruments I don't get most of the time.) Reminds me a little of some of the New Orleans creole things (though it's not).

Yeah, it's island-y, not South, Central or North America. Closer than most, Alex, but this is as near impossible as can be.

A lot of question marks, and I fear I let TheMG down on whatever Ellington connexion I was supposed to pick up.  Really, really enjoyed this BFT, though. I will definitely end up buying some of this stuff.

Glad you enjoyed it and, actually, glad I fooled you in places where I didn't expect to

MG

[JSngry]

Amos Milburn, eh? Wow!

Looking at the AMG listing of who the tenor play might be for this particular date makes the mouth water...hopefully the reveal will have specifics.

Lee Allen Orchestra	Sax (Tenor)
Eddie Chamblee	Sax (Tenor)
Clyde Dunn	Sax (Tenor)
Bill Hill	Sax (Tenor)
Plas Johnson	Sax (Tenor)
Claude McLin	Sax (Tenor)
Hubert "Bumps" Myers	Sax (Tenor)
Clifford Solomon	Sax (Tenor)
Don Wilkerson	Sax (Tenor)

Still sounds like an RCA-based recording though...would very much like to know what studio was used. It's an alladin side, so that means nothing, although they did get a lot of stuff out of New Orleans...

And Chuck Berry/Jimmy Johnson...I'm glad to find out that's who it is. Reinforces my feelings that it felt a little more organic then the two cuts preceding it. Hell, you can't get any more organic than Chuck Berry!

[The Magnificent Goldberg]

Amos Milburn, eh? Wow!

Looking at the AMG listing of who the tenor play might be for this particular date makes the mouth water...hopefully the reveal will have specifics.

Lee Allen Orchestra	Sax (Tenor)
Eddie Chamblee	Sax (Tenor)
Clyde Dunn	Sax (Tenor)
Bill Hill	Sax (Tenor)
Plas Johnson	Sax (Tenor)
Claude McLin	Sax (Tenor)
Hubert "Bumps" Myers	Sax (Tenor)
Clifford Solomon	Sax (Tenor)
Don Wilkerson	Sax (Tenor)

Still sounds like an RCA-based recording though...would very much like to know what studio was used. It's an alladin side, so that means nothing, although they did get a lot of stuff out of New Orleans...

It's from the Mosaic box, so there's a decent discography. Two tenor players listed, one only a probable, not a definite, and that's one on your list. So, you could be right about him; I wouldn't like to say.

MG

Glad that was an easy one to answer. Been sealing the new part of our garden fence, which got bowled over and bust in spring storms. Only about twelve feet, but in a hellishly awkward situation. All the time, I was thinking; "This is what old geezers have grandsons for!" Will e-mail daughter, on holiday in Spain to tell her, before I close down the router. Effin' KNACKERED tonight!

MG

[JSngry]

Found this online http://deus62.com/linkto/0155.pdf , neither of the tenor possibilities are who I'd hoped they'd be, but no matter, it's still good,. But best surprise = Wayne Bennett!!!

However...could that Willie Smith be the alto player doubling on tenor? Or another guy?

Radio Recorders was a very busy L.A. studio for all kinds of music. RCA used them, so maybe that's what I'm hearing...or maybe not! https://en.wikipedia.org/wiki/Radio_Recorders

(S)Amos Milburn (vcl, p), Willie Smith (ts), Bill Hill (probably ts), Leroy Robinson (as, bari), Wayne Bennett (g), Leonard Sonny Williams (b), Eldeen McIntosh (d), Maxwell Davis (musical director).

Radio Recorders, LA January 30, 1952

RR1839-6 Flying Home 3125, (J)TOCP

 

 

[lipi]

10: Wait until you see what it is!!! Well, this and 3 other cuts are from an EP which, if you can find it, you'll probably enjoy. And yes, it IS Ellingtonia.

Well, shoot. I've read the thread now, and I've learned a) that it is indeed Nance, and b) there's some English connexion. Question: are there more Ellington connexions here, outside of Nance being on the date? (And I'm not going anywhere with this question. I really still have no idea what this is.) And I assume that that's Nance also on trumpet, not just on violin? (Apologies if these are too many questions for this early in the month. Feel free to tell me to shove off until later.)

11: Your getting this one right is a big surprise to me. Yes, it's Amos, who you probably know ran a territory big band in Houston before he went to LA and became a successful R&B man. This is actually early fifties, not him with his Houston band. Big tick for this one.

I really like Jump Blues, early R&B, early Rock & Roll, etc. It has the same kind of danceable fun energy that the 20's and the Swing Era had. (And which are the things I miss in the West Coast cool school and other more modern things. Yeah, I know bop can be high-energy, but it's only danceable if you're Dizzy.)  And I'm a little embarrassed to admit that I had no idea about his pre-R&B roots! When I think of him, I think of "Chicken Shack Boogie" and all that mess.

13: Some of those cuts done in December 1947, to enable labels to stockpile material they could release during the Musicians' Union strike, were done under so much pressure that odd endings didn't justify doing another take or maybe they ran out of studio time. This was the eighth and final track recorded at one of those sessions. Normally you only got four tracks but, under pressure, the label proprietor would say, "just play something guys", and they would. And the corollary was that they'd get whatever musicians were hanging around to make up a band. That's how to get real improvisation.

I've listened to this a bunch more times. Still don't know who it is, and though I can guess some names, none of them seem like "great" guesses. Really enjoying it, though.

16: Now that surprises me.

I listened to this again because you wrote that. I have to admit, I didn't give it a chance originally. I got fed up with the introduction and never got to the excellently tortured sax solo. So, yeah, I don't dig the guitarist (though he clearly is skilled--I just don't enjoy what he's playing--kinda sleepy?), nor the pianist (same--maybe not sleepy, but just, I dunno, just hitting some unconnected notes here and there, and not in the good Basie way), but I like the tenor (?) sax. I see someone already guessed Grimes. There are all the other usual suspects, but I would just be throwing out names. So revised opinion: like the sax, still find it overall kinda meh because it takes so long to get interesting. I dunno. Maybe it's the era. This is probably 50's or 60's or even 70's. Yes, I realize that's a 30 year guess.  Anyway, still not really my thing, but I certainly don't hate it.

17: Yes, 18 is part 2 of 17. Two guys in this one you should be familiar with.

You evil man! No wonder they sounded similar.  O.K. Well, I don't know who I'm supposed to recognize. I see JSngry went for Grimes again, and you shattered his hope. I could throw out names, but again, no real solid ideas.

19: Bloomin' 'eck, Tucker! I didn't think anyone would get this. Yes, it's Chuck Berry. Johnnie Johnson, the original leader of the band when they played jazz in St Louis, is the pianist. A VERY big tick for that one!

Wild. Like I said, I really enjoy early Rock & Roll, so identifying that sound wasn't that hard. (Though I will immediately admit I just threw out Chuck Berry as an "it sounds like this"--I didn't actually think it would be a Chuck Berry recording!) Will have to dig through the complete Rhino sets--is it in there, or is it some crazy rarity?

Lots of listening to 10, 13, 16, 17, and 18 today. No progress outside of enjoyment.

[The Magnificent Goldberg]

10: Wait until you see what it is!!! Well, this and 3 other cuts are from an EP which, if you can find it, you'll probably enjoy. And yes, it IS Ellingtonia.

Well, shoot. I've read the thread now, and I've learned a) that it is indeed Nance, and b) there's some English connexion. Question: are there more Ellington connexions here, outside of Nance being on the date? (And I'm not going anywhere with this question. I really still have no idea what this is.) And I assume that that's Nance also on trumpet, not just on violin? (Apologies if these are too many questions for this early in the month. Feel free to tell me to shove off until later.)

It'd give too many clues to say more on the Ellingtonia point, but it IS Nance on both trumpet and violin.

11: Your getting this one right is a big surprise to me. Yes, it's Amos, who you probably know ran a territory big band in Houston before he went to LA and became a successful R&B man. This is actually early fifties, not him with his Houston band. Big tick for this one.

I really like Jump Blues, early R&B, early Rock & Roll, etc. It has the same kind of danceable fun energy that the 20's and the Swing Era had. (And which are the things I miss in the West Coast cool school and other more modern things. Yeah, I know bop can be high-energy, but it's only danceable if you're Dizzy.)  And I'm a little embarrassed to admit that I had no idea about his pre-R&B roots! When I think of him, I think of "Chicken Shack Boogie" and all that mess.

Well, I guess the majority of R&B stars of the late forties/early fifties were jazz musicians from the territory bands, or Lucky Millinder's band. And I guess you know that, already

 

13: Some of those cuts done in December 1947, to enable labels to stockpile material they could release during the Musicians' Union strike, were done under so much pressure that odd endings didn't justify doing another take or maybe they ran out of studio time. This was the eighth and final track recorded at one of those sessions. Normally you only got four tracks but, under pressure, the label proprietor would say, "just play something guys", and they would. And the corollary was that they'd get whatever musicians were hanging around to make up a band. That's how to get real improvisation.

I've listened to this a bunch more times. Still don't know who it is, and though I can guess some names, none of them seem like "great" guesses. Really enjoying it, though.

That DOESN'T surprise me

 

16: Now that surprises me.

I listened to this again because you wrote that. I have to admit, I didn't give it a chance originally. I got fed up with the introduction and never got to the excellently tortured sax solo. So, yeah, I don't dig the guitarist (though he clearly is skilled--I just don't enjoy what he's playing--kinda sleepy?), nor the pianist (same--maybe not sleepy, but just, I dunno, just hitting some unconnected notes here and there, and not in the good Basie way), but I like the tenor (?) sax. I see someone already guessed Grimes. There are all the other usual suspects, but I would just be throwing out names. So revised opinion: like the sax, still find it overall kinda meh because it takes so long to get interesting. I dunno. Maybe it's the era. This is probably 50's or 60's or even 70's. Yes, I realize that's a 30 year guess.  Anyway, still not really my thing, but I certainly don't hate it.

Well, I've got to admit that the pianist's thirties work is not universally praised. You may know it and dislike it. I love it!

17: Yes, 18 is part 2 of 17. Two guys in this one you should be familiar with.

You evil man! No wonder they sounded similar.  O.K. Well, I don't know who I'm supposed to recognize. I see JSngry went for Grimes again, and you shattered his hope. I could throw out names, but again, no real solid ideas.

19: Bloomin' 'eck, Tucker! I didn't think anyone would get this. Yes, it's Chuck Berry. Johnnie Johnson, the original leader of the band when they played jazz in St Louis, is the pianist. A VERY big tick for that one!

Wild. Like I said, I really enjoy early Rock & Roll, so identifying that sound wasn't that hard. (Though I will immediately admit I just threw out Chuck Berry as an "it sounds like this"--I didn't actually think it would be a Chuck Berry recording!) Will have to dig through the complete Rhino sets--is it in there, or is it some crazy rarity?

Nope, not obscure. Somewhere or other on my computer I have a Chuck Berry discography, but can't find it. But it was the B side of one of his hit singles and was on his first LP.

Lots of listening to 10, 13, 16, 17, and 18 today. No progress outside of enjoyment.

Glad you're still enjoying it.

 

MG

[tkeith]

Found this one pretty frustrating.  Not so much in the inability to ID anything (though that's certainly in there) but just had a negative visceral reaction to much of it.  Feel like I'm being a negative @$$hole with the comments, but this didn't really grab me.  Perhaps it's the end-of-summer blues doing me in.  Apologies in advance.

Track 1 - I want to like it, but as I try to embrace this shrieking 'bone, it's a challenge.  I think I chalk it up to a DO like, though.  No idea what we have here.

Track 2 - Black Orpheus, but the rendition is not  resonating.  Too... I don't know... Liberace?  Get's better once we get beyond the intro.  Some of the comping has me thinking it could be Harold Mabern, I just can't imagine him playing something as unhip as the intro; perhaps one of his students?  The same link has me thinking of another specific recording, but I can't quite nail it down.  Still thinking of the HM link, though. 

Track 3 - Fun.  No idea what it is, but it IS fun.  

Track 4 - This doesn't seem all that musical to me until about a minute in.  Pianist is very capable, but I'm not really caring.  I saw Hilton Ruiz play like this one night (he was COMPLETELY wasted) and I walked out (4-hour roundtrip).  I'll call this one fun, once it gets going, but I'm not all that much interested in hearing it twice.

Track 5 - This is more like it.  More for atmosphere than sit-n-listen, though.

Track 6 - Much more in line with my ears.  Could be Gator on tenor; whomever it is, I'm digging him.  Rudolph Johnson?  He's a bitch, whoever it is.

Track 7 - A Night in Tunisia, with a very Hodgesesque flavor.  Touches of Criss, but not so fleet.  It's a player, but I think it's perhaps someone just off my radar.  Either that or the alto isn't his main horn.  

Track 8 - Not a lot of interest here.  

Track 9 - An odd little arrangement of Caravan.  I applaud the unique approach, but I'm not returning for more.  

Track 10 - Predates my guessable listening, but I love the feel.  It's a little grimy and makes its point.  I could listen to this easily.

Track 11 - Almost sounds like Eddie Jefferson to me, but if so, earlier than I'm familiar with.  Love the tune and always have.  There is nothing not right with this.

Track 12 - This is somewhat interesting to me, but I'm almost two minutes in and waiting for it to go somewhere.  I like the tenor's sound, but there is something indistinct about the approach; very much out of the practice room, or so it seems.  Flawless playing, but I'm getting much of a sense of grit.  Sounds like someone who likes George Coleman a great deal.  Based on the playing, I'm guessing this is mid-70s to early-80s, but sounds like a needle drop.  I'm guessing not an American player because it seems like a skill level I should be acquainted with, but there is nothing pinging as far as an ID.

Track 13 - Very solid playing, just not an era that particularly resonates with my interest.  Love the time of the alto player, but besides a passing interest, the boogie-woogie feel just doesn't grab me.

Track 14 - Things Ain't What They Used To Be, and I think I blame the organ.  Okay, that was just mean.  It's just overpowering my ability to concentrate, here.  I'll pass.  Could actually be Edward Kennedy himself on an off day on the piano.  This one is just rubbing me all wrong.

Track 15 - After Hours, one of the few rusty razor tunes I never tire of.  Perhaps because I've rarely heard a version I didn't like.  This is in the vein of much of the rest of this test, but I'm digging it, completely.  It's totally subjective, but this just works on every level for me.

Track 16 - I'm in.  Again, it just works.  Something about the whispering theme just sucks me right in.  Nylon string guitar?  Oh!  Growl at me, baby!  Love the way the alto just ATTACKS the horn.  Could that be Eddie Vinson?  Doesn't really strike me as him, though my mind wants to hear him shout at me next.  That FILTHY woman!  She did NOT do that to you!  I'm all in, here.

Track 17 - Whatever "it" was that the last track had, this lacks it... for me.  I don't know, I just don't buy this at all.  Mr. Tenor is going to try to save it here.  Somebody likes Big Ben a whole bunch (and that's not a bad thing), but I don't believe it's the man himself.  Pretty convincing take on him, though.  The tenor definitely carries this to a level of respectability before it's over... I'm luke warm.

Track 18 - I was about to give up on this before the tenor arrived.  Now it's bad ass.  Sounds like Hawk to me, but I'm probably wrong.  This is all about the tenor for me -- the guitar could be edited completely out, just gets in the way.  Sounds like he's not even in the same room with the others.  

Track 19 - *Yawn*.  Just don't.

Track 20 - Not crazy about the rock-n-roll shuffle stuff, but this one works.  The band has a nice drive and the singer is convincing.  This is the sort of thing that would be great to see live -- really ramp up the audience.  Is that Big Mama?  This one's a keeper.

Track 21 - Right off the bat sounds like a Concord recording.  Uber compressed.  Again, the "it" that was in the last cut is just not here in this one.  There's nothing "wrong" with it -- it's pleasant and well played -- it's just not making me care... at all.  Sounds like George Mraz on bass, but that could be the recording.  I'm not buying the vocalist at all.

Track 22 - Glad this one is here.  I'm guessing a good chunk of this was Cuban, as this reminds me a lot of Abraham Ferrer.  This track is a definite keeper, though I have no idea who it is, but I never tire of this sort of thing.

Sorry for the harsh opinions on some of this, but it really didn't fetch me.  Thanks for the time prepping it, though, as it is always good to challenge one's ears. 

 

[The Magnificent Goldberg]

Found this one pretty frustrating.  Not so much in the inability to ID anything (though that's certainly in there) but just had a negative visceral reaction to much of it.  Feel like I'm being a negative @$$hole with the comments, but this didn't really grab me.  Perhaps it's the end-of-summer blues doing me in.  Apologies in advance.

Well, you got a good few right guesses, Thom, and you're attitude's a lot better than mine is sometimes

Track 1 - I want to like it, but as I try to embrace this shrieking 'bone, it's a challenge.  I think I chalk it up to a DO like, though.  No idea what we have here.

Er... it's a trumpet...

Track 2 - Black Orpheus, but the rendition is not  resonating.  Too... I don't know... Liberace?  Get's better once we get beyond the intro.  Some of the comping has me thinking it could be Harold Mabern, I just can't imagine him playing something as unhip as the intro; perhaps one of his students?  The same link has me thinking of another specific recording, but I can't quite nail it down.  Still thinking of the HM link, though. 

Well, it is Harold Mabern. Liberace!!?!?!

Track 3 - Fun.  No idea what it is, but it IS fun.  

Track 4 - This doesn't seem all that musical to me until about a minute in.  Pianist is very capable, but I'm not really caring.  I saw Hilton Ruiz play like this one night (he was COMPLETELY wasted) and I walked out (4-hour roundtrip).  I'll call this one fun, once it gets going, but I'm not all that much interested in hearing it twice.

Track 5 - This is more like it.  More for atmosphere than sit-n-listen, though.

Track 6 - Much more in line with my ears.  Could be Gator on tenor; whomever it is, I'm digging him.  Rudolph Johnson?  He's a bitch, whoever it is.

Wrong Johnson

Track 7 - A Night in Tunisia, with a very Hodgesesque flavor.  Touches of Criss, but not so fleet.  It's a player, but I think it's perhaps someone just off my radar.  Either that or the alto isn't his main horn.  

Well yes, the tenor is Rusty's main horn. He plays alto differently from tenor... I mean, it sounds to me as if he aims at different things.

Track 8 - Not a lot of interest here.  

Track 9 - An odd little arrangement of Caravan.  I applaud the unique approach, but I'm not returning for more.  

Track 10 - Predates my guessable listening, but I love the feel.  It's a little grimy and makes its point.  I could listen to this easily.

Track 11 - Almost sounds like Eddie Jefferson to me, but if so, earlier than I'm familiar with.  Love the tune and always have.  There is nothing not right with this.

Track 12 - This is somewhat interesting to me, but I'm almost two minutes in and waiting for it to go somewhere.  I like the tenor's sound, but there is something indistinct about the approach; very much out of the practice room, or so it seems.  Flawless playing, but I'm getting much of a sense of grit.  Sounds like someone who likes George Coleman a great deal.  Based on the playing, I'm guessing this is mid-70s to early-80s, but sounds like a needle drop.  I'm guessing not an American player because it seems like a skill level I should be acquainted with, but there is nothing pinging as far as an ID.

This is from the sax player's first album as a leader. I think a lot of jazz enthusiasts regard his subsequent work as third or fourth class. So do I, but I like this one.

Track 13 - Very solid playing, just not an era that particularly resonates with my interest.  Love the time of the alto player, but besides a passing interest, the boogie-woogie feel just doesn't grab me.

Track 14 - Things Ain't What They Used To Be, and I think I blame the organ.  Okay, that was just mean.  It's just overpowering my ability to concentrate, here.  I'll pass.  Could actually be Edward Kennedy himself on an off day on the piano.  This one is just rubbing me all wrong.

Yes, it's Duke Ellington at the pianner.

Track 15 - After Hours, one of the few rusty razor tunes I never tire of.  Perhaps because I've rarely heard a version I didn't like.  This is in the vein of much of the rest of this test, but I'm digging it, completely.  It's totally subjective, but this just works on every level for me.

Track 16 - I'm in.  Again, it just works.  Something about the whispering theme just sucks me right in.  Nylon string guitar?  Oh!  Growl at me, baby!  Love the way the alto just ATTACKS the horn.  Could that be Eddie Vinson?  Doesn't really strike me as him, though my mind wants to hear him shout at me next.  That FILTHY woman!  She did NOT do that to you!  I'm all in, here.

Not Mr Vinson.

Track 17 - Whatever "it" was that the last track had, this lacks it... for me.  I don't know, I just don't buy this at all.  Mr. Tenor is going to try to save it here.  Somebody likes Big Ben a whole bunch (and that's not a bad thing), but I don't believe it's the man himself.  Pretty convincing take on him, though.  The tenor definitely carries this to a level of respectability before it's over... I'm luke warm.

Track 18 - I was about to give up on this before the tenor arrived.  Now it's bad ass.  Sounds like Hawk to me, but I'm probably wrong.  This is all about the tenor for me -- the guitar could be edited completely out, just gets in the way.  Sounds like he's not even in the same room with the others.  

#18 is part 2 of 17. Tenor player is so far unknown, he wasn't even present, according to the discographers.

Track 19 - *Yawn*.  Just don't.

Track 20 - Not crazy about the rock-n-roll shuffle stuff, but this one works.  The band has a nice drive and the singer is convincing.  This is the sort of thing that would be great to see live -- really ramp up the audience.  Is that Big Mama?  This one's a keeper.

Big Maybelle.

Track 21 - Right off the bat sounds like a Concord recording.  Uber compressed.  Again, the "it" that was in the last cut is just not here in this one.  There's nothing "wrong" with it -- it's pleasant and well played -- it's just not making me care... at all.  Sounds like George Mraz on bass, but that could be the recording.  I'm not buying the vocalist at all.

Like for 17 & 18, discographers have left out a bunch of people - in fact the entire rhythm section! (Unless it's on the original sleeve - I haven't got the original LP.)

Track 22 - Glad this one is here.  I'm guessing a good chunk of this was Cuban, as this reminds me a lot of Abraham Ferrer.  This track is a definite keeper, though I have no idea who it is, but I never tire of this sort of thing.

Not Cuban. Possibly you'll get more out of the answer than the others, Thom.

Sorry for the harsh opinions on some of this, but it really didn't fetch me.  Thanks for the time prepping it, though, as it is always good to challenge one's ears. 

 

I think you did pretty well. Glad I didn't completely remove #22.

MG

[mjzee]

Wow, I'm behind.  Don't know why I didn't see these responses in my "New Content" feed.  Ah well.  So some of these may no longer be surprises.  I'll put down my thoughts and then go back and read others' responses.

1) Cuban music meets "I don't need no wa-wa."  Perez Prado?  I see that was correct.

2) John Coates, Jr. school.  Early Keith Jarrett?  "The Summer Knows" - a very cheery rendition of the song.

3) Dominican version of Prince Buster backed by Art Pepper & Pepper Adams?  I used to hear this stuff blasting from the cars on Broadway in Washington Heights.

4) Latin music played by some unholy cross of Cecil Taylor and Oscar Peterson?

5) More latin music, with English lyrics.  Didn't make much of an impression on me.

6) More cowbell!  Good tenor sax & organ against a latin beat.  Houston Person or King Curtis?

7) Night In Tunisia.  Tenor (alto?) backed by guitar and el-p.  Nice, but nothing special.

8) Thrushes.  Nice delivery & arrangement.  No idea who.

9) Caravan.  Violin & organ?!?  Nice congas.  Finally some grease!  Ray Nance & Milt Buckner?  A little too restrained for Buckner.

10)  Something from the early days of Blue Note?  But then sounds like Stuff Smith & Tiny Grimes.

11)  Flying Home.  Eddie Jefferson?  Nice sax.

12) Alto has a nice, feathery tone reminiscent of Art Pepper.  But the organ & bottom heavy reed section?  Weird.

13) Boogie-woogie!  Nice subdued trumpet & then livelier sax and trombone.  The pianist doesn't turn out to be the star of the show - didn't predict that.

14) Things Ain't What They Used To Be.  I'm guessing Wild Bill Davis.

15) Strong left hand.  Boring, though - a little too cautious.

16) Guitar sound like Lonnie Johnson.  Sax livens things up!  Ray Bryant on piano?

17)  Coleman Hawkins or Don Byas.  A former co-worker would call this stripper music.

18) Mickey Baker?  King Curtis?

19) A weird thought: Chuck Berry on guitar?  Is this the Chess crowd?

20) Whoever this is, I hope she finds the man she's looking for.

21) By recording quality, sounds to be of more recent vintage.  #20's daughter, perhaps?

22) The greater length allows for a more relaxed vibe.  I'm picturing a South African version of Perry Como...who then takes a cellphone call while onstage and starts talking.

Thanks, TMG.

[The Magnificent Goldberg]

Wow, I'm behind.  Don't know why I didn't see these responses in my "New Content" feed.  Ah well.  So some of these may no longer be surprises.  I'll put down my thoughts and then go back and read others' responses.

1) Cuban music meets "I don't need no wa-wa."  Perez Prado?  I see that was correct.

Yeah!

2) John Coates, Jr. school.  Early Keith Jarrett?  "The Summer Knows" - a very cheery rendition of the song.

3) Dominican version of Prince Buster backed by Art Pepper & Pepper Adams?  I used to hear this stuff blasting from the cars on Broadway in Washington Heights.

Yes. This is music from the Dominican Republic, the home of Merengue! So of course, it's not any of those names you mentioned - but you knew that, of course. In the Dominican Republic, this band was not at all obscure. The leader, when he died in 2012, was all but given a state funeral. A definite half  tick for the location.

4) Latin music played by some unholy cross of Cecil Taylor and Oscar Peterson?

5) More latin music, with English lyrics.  Didn't make much of an impression on me.

6) More cowbell!  Good tenor sax & organ against a latin beat.  Houston Person or King Curtis?

Jim got this - it's Plas Johnson.

7) Night In Tunisia.  Tenor (alto?) backed by guitar and el-p.  Nice, but nothing special.

8) Thrushes.  Nice delivery & arrangement.  No idea who.

The arrangement is really rather nice, I agree. That's why it's in here.

9) Caravan.  Violin & organ?!?  Nice congas.  Finally some grease!  Ray Nance & Milt Buckner?  A little too restrained for Buckner.

Not Nance and Buckner. As you say, too restrained for Milt.

10)  Something from the early days of Blue Note?  But then sounds like Stuff Smith & Tiny Grimes.

More recent than the early days of Blue Note. This is definitely vinyl era.

11)  Flying Home.  Eddie Jefferson?  Nice sax.

12) Alto has a nice, feathery tone reminiscent of Art Pepper.  But the organ & bottom heavy reed section?  Weird.

13) Boogie-woogie!  Nice subdued trumpet & then livelier sax and trombone.  The pianist doesn't turn out to be the star of the show - didn't predict that.

A nice surprise awaits you on this at the end of the month

14) Things Ain't What They Used To Be.  I'm guessing Wild Bill Davis.

Good guess. A tick for that, though Jim got it earlier. But this ain't a race.

15) Strong left hand.  Boring, though - a little too cautious.

I think you're in the minority here.

16) Guitar sound like Lonnie Johnson.  Sax livens things up!  Ray Bryant on piano?

Not Ray Bryant. But someone I like every bit as much.

17)  Coleman Hawkins or Don Byas.  A former co-worker would call this stripper music.

18) Mickey Baker?  King Curtis?

19) A weird thought: Chuck Berry on guitar?  Is this the Chess crowd?

Another spot on guess! You're the  second one to guess that and I thought it would be quite difficult.

20) Whoever this is, I hope she finds the man she's looking for.

21) By recording quality, sounds to be of more recent vintage.  #20's daughter, perhaps?

22) The greater length allows for a more relaxed vibe.  I'm picturing a South African version of Perry Como...who then takes a cellphone call while onstage and starts talking.

I love your picture of a South African Perry Como! Well, I did say there were no Africans in this and there still aren't

Thanks, TMG.

Thanks Mjzee. I'll always think of the South African Perry Como when I listen to this!

MG

[lipi]

19) "Blue Feeling" from 1957. I listened to a lot of Chuck Berry this weekend (partly in order to find this track). It's indeed on the Rhino "Complete 50's Chess Recordings" set.

Thank you again for making me aware of this recording, MG!

Listened some more to 13, and, apart from thinking everyone is a bad-ass, I don't have any strong guesses. Maybe Benny Carter on alto...? Still loving the drummer.

Also listened more to 16, and am ready to take a vague guess at the guitarist, at least. Could it be Al Casey? I still don't know what to think of the pianist.

[The Magnificent Goldberg]

19) "Blue Feeling" from 1957. I listened to a lot of Chuck Berry this weekend (partly in order to find this track). It's indeed on the Rhino "Complete 50's Chess Recordings" set.

Thank you again for making me aware of this recording, MG!

Listened some more to 13, and, apart from thinking everyone is a bad-ass, I don't have any strong guesses. Maybe Benny Carter on alto...? Still loving the drummer.

Also listened more to 16, and am ready to take a vague guess at the guitarist, at least. Could it be Al Casey? I still don't know what to think of the pianist.

Quite right, 'Blue feelin'' it is! It was the B side of 'Rock and Roll music'.

#13 - not Carter on alto. You SHOULD love the drummer.

#16 - right again! It's Al Casey. You should know the alto player, who was associated with him for a long time. The others... well probably not.

MG

[JSngry]

King Curtis on 16?

[The Magnificent Goldberg]

King Curtis on 16?

Nope!

There IS a sting in that tail, however.

MG

[JSngry]

Ok, process of elimination of the Al Casey cut: http://www.allmusic.com/album/buck-jumpin-mw0000677607

[The Magnificent Goldberg]

Yes - it's actually the King Curtis band of the time with Rudy Powell (who formerly played with Casey in Fats Waller's band) on alto instead of Curtis. And the icing on the cake is THE ONE AND ONLY HERMAN FOSTER on piano.

This is the second appearance of this album in one of my BFTs I've had it since '69 and it's one of my all time favourite albums.

MG

Edited September 15, 2015 by The Magnificent Goldberg

[Hot Ptah]

I love this Blindfold Test. I do not have anything to add beyond the amazing guesses and commentary that are already here. I have been enjoying this BFT all month. It is really fun.

[The Magnificent Goldberg]

Full answers and somewhat related ramblings on 1 October folks.

MG

[lipi]

I'm with Hot Ptah: I really enjoyed puzzling over some of these. I don't have any further insights and am looking forward to the reveal.

[page]

Hi MG,
“op de valreep” we would say. Sorry to be so late.  My computer is acting weird, this is my second attempt to post. Hope I’ll not loose it again.
Here are my thoughts:

01. reminds me of pieces like ‘It’s so nice to have a man around the house’ – Della Reece and ‘Experience Unneccessary’ – Sarah Vaughan, seems an orchestra like they worked with although no vocals here. My cup of tea definitely!

02. Manhã de Carnaval (Luiz) Bonfá. A favourite composer. I sing his Gentle Rain in Dutch.
I simply love the rhythm.

03. no clue. I would have googled the lyrics when I have had any knowledge of how to spell the language, lol.
04. Nice, again, no clue. I can see us lined up in a row here dancing. You guys better loosen up those hips.

05. Alfonso in town (A. Roberts) – Lord Kitchener – Rupert Nurse Caribbean band  - 45/1430 - 1430 Alfonso In Town/Federation [DA2709/DA2712] Lord Kitchener , Rupert Nurse Caribbean Band {78-1957/45-1959}
CAL 14 Lord Kitchener - Federation // Alfonso In Town
1964
Lovely. What a tempo to play. My admiration for that!

06. no clue. Parts seem familiar but I can’t put my finger on it.

07. 05:35 Night in Tunisia; very nice different rendition of the song. Curious about who it might be. One of my favourites of your BFT!

08. “I’ll string along with you” – (Harry Warren, Al Dublin) - arr: Gerald Wilson

- Gerald Wilson and his orchestra – recorded May 6, 1945 – 1946
vocals: Thrasher sisters (Mary, Betty and Dolores), Dick Gray.
Date: 1945
Location: Los Angeles, CA
Label: Excelsior
Gerald Wilson (leader), Leo Trammel, Floyd Turnham (alto sax), Eddie Davis, Maurice Simon, Vernon Slater (tenor), James Anderson, Hobart Dotson, Joe 'Red' Kelly, Snooky Young (trumpet), Gerald Wilson (trumpet), Ralph Bledsoe, Robert Huerta, Melba Liston, Isaac Livingstone (trombone), Benny Sexton (guitar), Jimmy Bunn (piano), Robert Rudd (bass), Henry Tucker Green (drums), Thrasher Sisters, Dick Gray (vocals);
I thought of the Andrew Sisters at first of course. I didn’t know these girls. really nice song.

09. Caravan – (Duke Ellington,  Juan Tizol, Irving Mills ) A bit of suspense. very nice rendition of this song. Curious about it.

10. no clue. Nice.

11. 02:52 Flying home – ( Benny Goodman – Lionel Hampton)
Amos Milburn and his Aladdin Chickenshackers - 10 “– Put something in my hand/Flying Home – label: Aladdin Records – 3125, Shellac, 10”, 78 RPM, US.
recorded 30 January 1952? Also on 2 albums, but I think this was the first one.

12. no clue.
13. nice. keep on swingin’!
14. theme sounds familiar, no clue though.
15. ah, really nice! I love a slow blues.
16. title showed up in my display, don’t know how that happened. So no guess here. Lovely song!
17. no clue, another blues.
18. nice.
19. Very lovely blues

20. Whole lot of energy – ?
21. another “Whole lot of energy”blues – eh? I didn’t know this blues. Interesting lyrics.
I like both girls and renditions (neither are Valerie Wellington I’ll have to admit I’m still a sucker for such a blues. Never goes out of date for me. I think I’d prefer number 19 over 20, but both made me smile.

22. again no clue. Nice rhythm.

Sorry to have so little answers. I’ve really enjoyed your BFT MG. Some nice Latin ànd some nice blues. Thanks for the invite, it is much appreciated.
Kind regards, page
 

Edited September 30, 2015 by page

[The Magnificent Goldberg]

Wow, you did well to get some of those, Page! Shamed some of our fellows, I think

Hi MG,
“op de valreep” we would say. Sorry to be so late.  My computer is acting weird, this is my second attempt to post. Hope I’ll not loose it again.
Here are my thoughts:

05. Alfonso in town (A. Roberts) – Lord Kitchener – Rupert Nurse Caribbean band  - 45/1430 - 1430 Alfonso In Town/Federation [DA2709/DA2712] Lord Kitchener , Rupert Nurse Caribbean Band {78-1957/45-1959}
CAL 14 Lord Kitchener - Federation // Alfonso In Town
1964
Lovely. What a tempo to play. My admiration for that!
 

Jim Sangrey should have got this, because I sent him a copy a few years ago. I'm REALLY astounded that you've found this information. But the information may not be correct (though if the dates are the issue dates of those editions, it may be correct). My copy comes from a Melodisc LP that issued in Britain in 1955. But there are NO CREDITS on the LP sleeve, so I didn't know anything about the Robert Nurse band.

So, were you actually able to compare the BFT track with the one you've quoted, so you KNOW they're the same?

Anyway, a BIG tick that you got this very hard cut, except for Lord Kitchener fans of course.

07. 05:35 Night in Tunisia; very nice different rendition of the song. Curious about who it might be. One of my favourites of your BFT!

Yeah!

08. “I’ll string along with you” – (Harry Warren, Al Dublin) - arr: Gerald Wilson

- Gerald Wilson and his orchestra – recorded May 6, 1945 – 1946
vocals: Thrasher sisters (Mary, Betty and Dolores), Dick Gray.
Date: 1945
Location: Los Angeles, CA
Label: Excelsior
Gerald Wilson (leader), Leo Trammel, Floyd Turnham (alto sax), Eddie Davis, Maurice Simon, Vernon Slater (tenor), James Anderson, Hobart Dotson, Joe 'Red' Kelly, Snooky Young (trumpet), Gerald Wilson (trumpet), Ralph Bledsoe, Robert Huerta, Melba Liston, Isaac Livingstone (trombone), Benny Sexton (guitar), Jimmy Bunn (piano), Robert Rudd (bass), Henry Tucker Green (drums), Thrasher Sisters, Dick Gray (vocals);
I thought of the Andrew Sisters at first of course. I didn’t know these girls. really nice song.

Lots of people should have got this, because the arrangements behind them is typical Gerald Wilson punchiness. Mucho ticks to you for being the only one.

 

09. Caravan – (Duke Ellington,  Juan Tizol, Irving Mills ) A bit of suspense. very nice rendition of this song. Curious about it.

10. no clue. Nice.

11. 02:52 Flying home – ( Benny Goodman – Lionel Hampton)
Amos Milburn and his Aladdin Chickenshackers - 10 “– Put something in my hand/Flying Home – label: Aladdin Records – 3125, Shellac, 10”, 78 RPM, US.
recorded 30 January 1952? Also on 2 albums, but I think this was the first one.
 

Yup!

12. no clue.
13. nice. keep on swingin’!
14. theme sounds familiar, no clue though.
15. ah, really nice! I love a slow blues.
16. title showed up in my display, don’t know how that happened. So no guess here. Lovely song!
17. no clue, another blues.
18. nice.
19. Very lovely blues

20. Whole lot of energy – ?
21. another “Whole lot of energy”blues – eh? I didn’t know this blues. Interesting lyrics.
I like both girls and renditions (neither are Valerie Wellington I’ll have to admit I’m still a sucker for such a blues. Never goes out of date for me. I think I’d prefer number 19 over 20, but both made me smile.
 

I think you mean to prefer 20 over 21.

Got to confess, I'd never heard of Valerie Wellington. Looked her up in Wiki. https://en.wikipedia.org/wiki/Valerie_Wellington So, yeah, 'Million $ secret' is another song not for shrinking violets, first done by Helen Humes in 1950, who wrote it with doubtless no assistance from anyone in the Bihari family except to put their pseudonym on the label. My favourite version is by Irene Reid.

Another is the Buddy Johnson song 'Hittin' on me', which made #6 on the R&B charts in '53. It was sung by his sister, Ella Johnson.

"I don't want no man, that's always hittin' on me (X2)

Last man to hit me, he's been dead since forty-three."

Buddy wrote lovely blues ballads and was the only big band leader, apart from Duke Ellington, to keep a band going through into the sixties, when he retired through ill health.

22. again no clue. Nice rhythm.

Sorry to have so little answers. I’ve really enjoyed your BFT MG. Some nice Latin ànd some nice blues. Thanks for the invite, it is much appreciated.
Kind regards, page
 

You got DIFFICULT stuff. You'll have to tell me your secret data source, one day

MG