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CardinalJazzFan

BFT 193 Link and Discussion

29 posts in this topic

Posted (edited)

Dan, I am sorry that you did not like the Blindfold Test. I am surprised that someone would not like the music played by an entire instrument, the flute in your case. I did not consciously try to include a lot of flute songs. To me, if it is good music it is good music, if played on a tenor saxophone, a flute. a French horn,  or a native tribal instrument from a remote area of Africa. I once tried to take a young woman to see Paul Butterfield in concert and she refused, saying that she did not listen to harmonica so I have run into this attitude before. It is not something I can identify with personally. But to each his own. 

Edited by CardinalJazzFan

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Track 01 - Sounds later than where it fits.  This reminds me of a conversation with an area saxophonist about playing with a big band where he dreaded playing In The Mood.  Years later, he played with another band in another state, it the experience was the opposite — it was FUN to play In The Mood.  He had the realization that the former band all hated that song as much as he did, and it showed.  While this sounds like a modern interpretation of this music, it’s clear that there is joy in the act of the players.  No guesses.  Could be a Lincoln Center project, but feels more real than that.

Track 02 - No idea what it is, but about a minute-and-a-half in I got a distinct animation vibe.  I don’t mean that as a criticism, it was more of a wistful rememberance of the cartoons of my youth.

Track 03 - I enjoyed this, but other than the arco, can’t really say why in particular.  I know that I’m listening as I deal with some work BS, and it’s keeping me sane, so there is that.

Track 04 - I like this.  Flute over the top of the smokey background.  This is nice.

Track 05 - I like this one, too, but the harp I could do without.  Nice brushwork.  I want to like the alto more than I do.  Has elements of a lot of guys, but can’t really match the sound.  Elements of Rahsaan, Blythe, Carl Grubbs… I don’t believe it’s any of them.  I like the overall tune, though.

Track 06 - I wasn’t sure I was going to like the arrangement at first, as it’s very dense, but by the later part of the song, I found I really liked it.  Has that David Murray density (maybe a Sam Rivers project?).  Lead alto is strong, though I find the improvisation meanders a bit.  Overall, still a very good listen.

Track 07 - Not sure what’s going on with this one.  Nothing ‘wrong’ with it, just doesn’t inspire me at all.  I like the minor feel of the tune, but it feels like the soloists don’t really build on that.  Notes more than music.  The trombone solo is STRONG.  Doesn’t quite bail out the wasted opportunity, but made me want to give it a second listen.  The feel change doesn’t completely work, but does have me wondering if this is a Ginger Baker project.

Track 08 - Feels like Fred Ho’s band to my ear.  Funny, I don’t think I’ve ever owned a Fred Ho album, but I always like what I hear when I hear it.  I should probably do something about that.  Ugh.  That soprano has the precise phrasing that drives me nuts about mondern, conservatory players.  Warmed over Wayne Shorter, and not the best Wayne at that.  Tenor solo is out of that school, but with a lot more fire.  I think the track works, but the soprano stands as a missed opportunity.

Track 09 - I’ll put this in the guilty pleasure category.  Like a lot fo Gato’s stuff, it’s got all of the post-production stuff I instinctively rail against, but I can’t help but have a soft spot for this.  Big-ish tenor sound (hard to tell with all the effects).  Has the strength of Dewey Redman, but I don’t have any knowledge of Dewey doing anything this electronic.  Has some of the quality of the soprano solo that rubbed me the wrong way, but this track works.  There’s a VERY commercial Bob Berg record like that I really like.  There’s that 70s, post-Coltrane line that every guy made a career of.  But, again, this works for me.  I’m thinking this is early enough that it was still more real.  Ah yes, likes him some Coltrane (who don’t?).  

Track 10 - Stark contrast.  No idea, just the straight-ahead ‘sort of a boo-gee woo-gee music’.  

Track 11 - Bass hook, vampy feel.  You had me at hello.  Why is my mind thinking Yusef?  I think I have this, but damned if I’m going to peg it.    

Track 12 - Very McCoy feel.  In fact, the melody borrows from Search For Peace.  Very pleasant, great feel.  Could actually be McCoy on piano.  Thinking maybe Franklin Kiermeyer on drums.  I’m going to withdraw my McCoy comment, the ideas are right, but at half speed.  It’s not a bad thing, but McCoy seemed to have a period where everything was MANY notes, and the sound of this recording would match that period.  

Track 13 - Has that Jan Garbarek feel.  Also a touch of Old and New Dreams.   A bit more dense than either of those, though.  Works, whatever it is.  Meh… now that it’s into the improv section, it’s lost what I liked.  Had that dirgy feel of the protest music coming out of South American conflict, but once the saxophone solo starts, the approach is a little too quiet storm over that feel they had created.

Definitely a challenging test — don’t think I got one player, let alone an actuall ID.   On the whole, a lot to like even though most is outside of my typical listening zone.  Thanks for sharing.

 

 

On 4/1/2020 at 1:34 PM, Milestones said:

 

 

11)                        Flute seems to be another thread running through this BFT.  I have heard many versions of “Delilah,” but not this one.  Stephane Grappelli on violin?  Ray Nance?  Then we have some…oud?  I like this!

I was hearing Nance here, too.

Jesus... mark the calendar -- I heard Brecker and didn't hate it.  I'd better take my temperature.

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18 minutes ago, tkeith said:

Jesus... mark the calendar -- I heard Brecker and didn't hate it.  I'd better take my temperature.

:o:o:o:o:o

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Posted (edited)

20 hours ago, tkeith said:

Track 01 - Sounds later than where it fits.  This reminds me of a conversation with an area saxophonist about playing with a big band where he dreaded playing In The Mood.  Years later, he played with another band in another state, it the experience was the opposite — it was FUN to play In The Mood.  He had the realization that the former band all hated that song as much as he did, and it showed.  While this sounds like a modern interpretation of this music, it’s clear that there is joy in the act of the players.  No guesses.  Could be a Lincoln Center project, but feels more real than that.

Reply—There is a joyful, fun feeing to this performance, which is a live recording. 

Quote

Track 02 - No idea what it is, but about a minute-and-a-half in I got a distinct animation vibe.  I don’t mean that as a criticism, it was more of a wistful rememberance of the cartoons of my youth.

Reply—the old cartoons had jazz and classical music backgrounds. I think something was lost for kids when that stopped. 

Track 03 - I enjoyed this, but other than the arco, can’t really say why in particular.  I know that I’m listening as I deal with some work BS, and it’s keeping me sane, so there is that.

Reply—that is an interesting perspective on this track, to focus on the arco bass. 

Track 04 - I like this.  Flute over the top of the smokey background.  This is nice

Reply—smoky background. I like that. 

Track 05 - I like this one, too, but the harp I could do without.  Nice brushwork.  I want to like the alto more than I do.  Has elements of a lot of guys, but can’t really match the sound.  Elements of Rahsaan, Blythe, Carl Grubbs… I don’t believe it’s any of them.  I like the overall tune, though.

Reply—listen to the alto again. There are more than elements of one of the musicians you have mentioned. 

Track 06 - I wasn’t sure I was going to like the arrangement at first, as it’s very dense, but by the later part of the song, I found I really liked it.  Has that David Murray density (maybe a Sam Rivers project?).  Lead alto is strong, though I find the improvisation meanders a bit.  Overall, still a very good listen.

Reply-I am glad you like this. It is not Sam Rivers but lives in his neighborhood.

 

Track 07 - Not sure what’s going on with this one.  Nothing ‘wrong’ with it, just doesn’t inspire me at all.  I like the minor feel of the tune, but it feels like the soloists don’t really build on that.  Notes more than music.  The trombone solo is STRONG.  Doesn’t quite bail out the wasted opportunity, but made me want to give it a second listen.  The feel change doesn’t completely work, but does have me wondering if this is a Ginger Baker project.

Reply—Not a Ginger Baker project. Very interesting perspective on this 

Track 08 - Feels like Fred Ho’s band to my ear.  Funny, I don’t think I’ve ever owned a Fred Ho album, but I always like what I hear when I hear it.  I should probably do something about that.  Ugh.  That soprano has the precise phrasing that drives me nuts about mondern, conservatory players.  Warmed over Wayne Shorter, and not the best Wayne at that.  Tenor solo is out of that school, but with a lot more fire.  I think the track works, but the soprano stands as a missed opportunity.

Reply—not Fred Ho. I like your musician’s insights
 

Track 09 - I’ll put this in the guilty pleasure category.  Like a lot fo Gato’s stuff, it’s got all of the post-production stuff I instinctively rail against, but I can’t help but have a soft spot for this.  Big-ish tenor sound (hard to tell with all the effects).  Has the strength of Dewey Redman, but I don’t have any knowledge of Dewey doing anything this electronic.  Has some of the quality of the soprano solo that rubbed me the wrong way, but this track works.  There’s a VERY commercial Bob Berg record like that I really like.  There’s that 70s, post-Coltrane line that every guy made a career of.  But, again, this works for me.  I’m thinking this is early enough that it was still more real.  Ah yes, likes him some Coltrane (who don’t?).  

Reply—as you know by now, it is Michael Brecker on a Teo Macero album.

What did you think about the guitar solo?

Track 10 - Stark contrast.  No idea, just the straight-ahead ‘sort of a boo-gee woo-gee music’.  

Reply—everyone may be surprised by who this is. 

Track 11 - Bass hook, vampy feel.  You had me at hello.  Why is my mind thinking Yusef?  I think I have this, but damned if I’m going to peg it.   
 

Reply—not Yusef. Glad you like it. I like all of this leader’s albums. 

 

Track 12 - Very McCoy feel.  In fact, the melody borrows from Search For Peace.  Very pleasant, great feel.  Could actually be McCoy on piano.  Thinking maybe Franklin Kiermeyer on drums.  I’m going to withdraw my McCoy comment, the ideas are right, but at half speed.  It’s not a bad thing, but McCoy seemed to have a period where everything was MANY notes, and the sound of this recording would match that period.  
 

Reply—it is McCoy, with Eric Gravatt on drums. As I say earlier, I saw McCoy about the time that this album was released. The entire album is very strong and focused.

Track 13 - Has that Jan Garbarek feel.  Also a touch of Old and New Dreams.   A bit more dense than either of those, though.  Works, whatever it is.  Meh… now that it’s into the improv section, it’s lost what I liked.  Had that dirgy feel of the protest music coming out of South American conflict, but once the saxophone solo starts, the approach is a little too quiet storm over that feel they had created.

Reply-Very intriguing comments.

Carla Bley recorded protest music in her earlier career, but not on this album. But maybe that music permeates other music which she composed. It is an interesting thought.

 

Definitely a challenging test — don’t think I got one player, let alone an actuall ID.   On the whole, a lot to like even though most is outside of my typical listening zone.  Thanks for sharing.

Reply—thanks for that. I think you can identify Track 05 if you trust your instincts. 

 

I was hearing Nance here, too.

Jesus... mark the calendar -- I heard Brecker and didn't hate it.  I'd better take my temperature.

 

Edited by CardinalJazzFan

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