felser

BFT 213 link and comments

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13 tracks ranging from early 60's to the 2000's. 80 minutes of music to alternately entertain, enlighten, or enrage you.  No Gene Harris (sorry, Dan!) though I respect and enjoy him.  This ranges farther off-center in several directions.  ID guesses are great, but responses/opinions are even better.  Thanks for your interest and participation!

http://thomkeith.net/index.php/blindfold-tests/

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Great, that's my listening sorted for a while

First track - as I type this, straight out of the blocks. Brothers bringing it home. Love it and sets the rest up beautifully. You just have to pay attention to a tune like this

Second track - just what I'd hoped from a felser BFT.  If it's not on Impulse it should have been

Track 6 - very nice until the sax comes in which dissipates the atmosphere for me a touch. Sounded very European at first, could almost be an ECM album. Someone's been listening to Kenny Wheeler and maybe even Stanko

Track 8 - peerless vocal Jazz.  I know this very well and will listen to this band and vocalist at any invitation. Righteous

Time for dinner and football. Back tomorrow

Edited by mjazzg

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1 - Track B4 from this album was sampled on one of my favorite rap tunes back in the day (TROY by Pete Rock & CL Smooth). It wasn't this song of course as this one here is the opener. Love the album, groove and sound. Nice stuff! 

2 - Familiar sound but not placing it. Reverb reminds me of those Elvin Jones 70s records. Harp at about 7 minutes in? Dig it!

3 - Sultry vocals and a simmering track. No guesses. The string backing works here. And the pick up at the end is worth it. 

4 - Maybe Sonny Rollins...? I'm probably wrong there but this is a great trio song. 

5 - Love that B3 bass. Really good track. Soulful with nice vibes. 

6 - About 2.5 mins in and it feels like the rhythm section should move off of that intro and develop the song further. Nice mood but that rhythmic motif drags a bit. They start getting there at about 4 mins...not far, but they move a bit. 

7 - Poor gal. 

8 - Nice song. No guesses but the groove is there. 

9 - Oh yeah, love the rhythm here with the percussion. Reverb on the flute is sweet. 

10 - Segue track? Or maybe another "Pt 1"? Short & sweet. Oohs & ahhs..

11 - Intense bass work here, recorded in boom mode. Ominous track for some reason. Great build up. 

12 - Burning intro with more harp I believe. Pharoah? Good song. 

13 - Another badass bass line. Rest of the song is decent as well. Not sure what's going on with the horn recording. Either something is tracking along or there's some effects on it. Ending is weird - is this from a soundtrack? 

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Getting in early on this one.

track 01 - FUNKY NASSAU!!!  Tim Webb hipped me to this years ago.  LOVE IT!

track 02 - Sure sounds like Joe.  Yeah, that's Joe.  I have something equally weird and commercialish that he was on.  No idea what this is, but that bass seems pretty prominent in the mix.  Perhaps the leader?  Love Joe, and this is a great listen, but man, those effects get to me quick.  Oh, violin.  There's a clue.  Sounds like Urbaniak.  Could me someone more out, but I'm not getting that vibe.  Harp!?  Is this an Alice Coltrane thing?  Alright, curiosity got the better of me and I sleuthed it out. Not going to post the answer, because I didn't know it, I had to seek it.  Very interesting.

track 03 - Black Coffee, but by whom?  Really like this version, though not entirely sold on vocalist.  Oddly, Iwarmed up when she started scatting -- not usually the case.  Yeah, this is a keeper.  interest piqued.

track 04 - Was thinking Lovano at first, but that's Charles Lloyd, Joe doesn't have that warmth.  Gotta be from Hyperion With Higgins, but I haven't heard that in years.  

track 05 - I'm trying to find fault with this (beyond the attrocious sound), and I got nothing.  What the hell IS this?  It's banging, and while it definitey is derivitive, it is done VERY right.  It's got edge, it's got Turrentine soul, it's got facility.  What the **** is this?!  Even when it goes all Coltrane-flury, it works.  Sounds like what I always wanted Courtney Pine to sound like.  I gotta have this.  Drums are too busy, so I'm guessing his date.   I'd guess Ralph Peterson, but the presence of the organ has me leaning towards Cecil Brooks, III.  How'd I do, coach?

track 06 - Little Sunflower, in an obvious sense.  It's not Freddie, but someone who likes him a whole lot.  Not Eddie Henderson, tell-tale signs are missing.  Not Woody.  Not Kenny Wheeler, though that feels closest.  Could be later Kenny, I guess, but really doesn't feel up to his level.  Okay, here's a weird thought.  Not getting a clear shot to either guy, but given the instrumentation, I'm going to say Chuck Mangione's band with Chris Vadala.  I'm either nuts, or I nailed it.

track 07 - LOVE THIS tune!  Man, she was SO hip!  For my money, this is THE female Jazz vocal album.  Do I need to put a link up?  I mean, this fools no one, but is still a great call in this mix.  Outstanding!

track 08 - OH YEAH!  Cactus dances to the radio!  Never gonna get these guys by me.  I would argue this is top 3 Jazz albums of the past 20 years, easily (though, I might be RIGHT at that 20 year mark, huh?).    Leena is pretty friggin' hip herself.  

track 09 - This is the first miss for my ears (camned electric bass does it every time).  I don't know this, but it's groovy.  That's both the best and worst part -- it's groovy.  Could be Harold Alexander, but I haven't heard him go this far in that direction.   Latin/70s/vibes... Dave Samuels?

track 10 - This just makes me want to get in a big, 70s car and try to outrun Roy Scheider.  Oddly hip, oddly pop-ie.  I want to like it more for some things, and I want to loathe it for others, but I can't quite get to either point. It's in 3, so... there's that.  Curious.

track 11 - This is one where I would crop right to the time section. I understand what they were building, but I think it stands fine without that piece.  Can only tell you who the soprano ISN'T.  Piano sounds somewhat familiar, but could be the sound (has that distinct India Navigation/MPS sound quality -- or lack thereof).  That is a RAW trumpet.  Seems like if Raphe Malik was flirting with hard bop.  Love the drive of the feel, even though the individual components aren't totally hitting.  Pianist commits, I'll give him that.  Overall, I'm not in love with it, but it works.  Could be one of Joe McPhee's things, but I tend to hear his soprano as stronger.  

track 12 - Who's that fighting the unemployment stick so hard?  Sure sounds like McBee's bass.  Could be Joe Bonner on piano.  Okay, so he's a tenor player who plays soprano.  That breathy vibrato should be a better clue than it is.  Sticking with Cecil/Joe... although, are there TWO bassists?  Now THAT's interesting.  

track 13 - Varitone bass clari?  No, that's soprano and octavia.  Has drive and energy and isn't afraid to take aim and let loose.  Be that Mr. Young?  Seems like [insert 70s rock drummer here] getting together with a Jazz jam.  Varitone is dominating the natural sound of the horn -- not my preference.  Decidedly Hebreic approach.  I think there's a better vibe being laid down than one the sax player is doing with it.  Seems too learned for what the rest of them are doing.  

Quite a mix, man.  You do not disappoint. 

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Track 9: knowing some of John's tastes (Philly, Khan Jamal et al.), which coincide with mine to a degree, this was instantly recognizable as track 4 from:

https://tinyurl.com/2p872cxv

Arguably a bit cheesy and dated-sounding, but I like the groove and own the (reissue) release.

OMG, track 10 is a real surprise! B4 from

https://tinyurl.com/3484xubc

I (surprisingly) like it, much more than their more famous (and more saccharine) selections. Really far from my usual listening, but a real eye (ear?)-opener.

 

Edited by T.D.

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6 hours ago, mjazzg said:

Great, that's my listening sorted for a while

First track - as I type this, straight out of the blocks. Brothers bringing it home. Love it and sets the rest up beautifully. You just have to pay attention to a tune like this

Yes, all seem to like this so far as much as I do!  Hit #15 on the US Hot 100 charts in 1971. ID'd.

Second track - just what I'd hoped from a felser BFT.  If it's not on Impulse it should have been

Switch around the leader credit to either of two of the other musicians on the track and it would have been!  That's a clue.

Track 6 - very nice until the sax comes in which dissipates the atmosphere for me a touch. Sounded very European at first, could almost be an ECM album. Someone's been listening to Kenny Wheeler and maybe even Stanko

This recording is older than you think!

Track 8 - peerless vocal Jazz.  I know this very well and will listen to this band and vocalist at any invitation. Righteous

Righteous indeed!  I need to know more about the vocalist, will PM.

Mark, thanks for the kind words!

 

5 hours ago, Dub Modal said:

1 - Track B4 from this album was sampled on one of my favorite rap tunes back in the day (TROY by Pete Rock & CL Smooth). It wasn't this song of course as this one here is the opener. Love the album, groove and sound. Nice stuff! 

Nice stuff indeed, thanks!

2 - Familiar sound but not placing it. Reverb reminds me of those Elvin Jones 70s records. Harp at about 7 minutes in? Dig it!

Not Elvin, but yes, 1970's (as are most of the tracks here).

3 - Sultry vocals and a simmering track. No guesses. The string backing works here. And the pick up at the end is worth it. 

This one is going to surprise people.

4 - Maybe Sonny Rollins...? I'm probably wrong there but this is a great trio song. 

Not Sonny, but another master.

5 - Love that B3 bass. Really good track. Soulful with nice vibes. 

Yep,  Hope someone picks up the composition.

6 - About 2.5 mins in and it feels like the rhythm section should move off of that intro and develop the song further. Nice mood but that rhythmic motif drags a bit. They start getting there at about 4 mins...not far, but they move a bit. 

Interesting insight.

7 - Poor gal. 

She actually married twice!

8 - Nice song. No guesses but the groove is there. 

Yeah, pretty amazing cut, and well-received so far.

9 - Oh yeah, love the rhythm here with the percussion. Reverb on the flute is sweet. 

One of the more obscure cuts on this BFT.  I'm shocked it was ID'd so early.

10 - Segue track? Or maybe another "Pt 1"? Short & sweet. Oohs & ahhs..

No, that's the whole track.  This one will also surprise some people.

11 - Intense bass work here, recorded in boom mode. Ominous track for some reason. Great build up. 

Another pretty obscure track.

12 - Burning intro with more harp I believe. Pharoah? Good song. 

Not Pharoah, but that was why I chose it, as it is (with good reason) so evocative of him.

13 - Another badass bass line. Rest of the song is decent as well. Not sure what's going on with the horn recording. Either something is tracking along or there's some effects on it. Ending is weird - is this from a soundtrack? 

Not from a soundtrack, that's just the leader being the leader.  I love good bass lines.

Thanks for your insights!

 

 

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5 hours ago, tkeith said:

Getting in early on this one.

track 01 - FUNKY NASSAU!!!  Tim Webb hipped me to this years ago.  LOVE IT!

Yep.  I love it too, thought it would be a great starter.

track 02 - Sure sounds like Joe.  Yeah, that's Joe.  I have something equally weird and commercialish that he was on.  No idea what this is, but that bass seems pretty prominent in the mix.  Perhaps the leader?  Love Joe, and this is a great listen, but man, those effects get to me quick.  Oh, violin.  There's a clue.  Sounds like Urbaniak.  Could me someone more out, but I'm not getting that vibe.  Harp!?  Is this an Alice Coltrane thing?  Alright, curiosity got the better of me and I sleuthed it out. Not going to post the answer, because I didn't know it, I had to seek it.  Very interesting.

It's Joe.  Bass is not the leader.  Not Urbaniak.  Debatable if they are more far out (sometimes yes, sometimes no). Yes,  Alice Coltrane, but she is not the leader.  I have always found this cut fascinating.

track 03 - Black Coffee, but by whom?  Really like this version, though not entirely sold on vocalist.  Oddly, Iwarmed up when she started scatting -- not usually the case.  Yeah, this is a keeper.  interest piqued.

Interest will be rewarded on the reveal.  Fascinating track once you know what it is.

track 04 - Was thinking Lovano at first, but that's Charles Lloyd, Joe doesn't have that warmth.  Gotta be from Hyperion With Higgins, but I haven't heard that in years.

Correct on Lloyd and the album.   I agree, Lovano is cold by comparison, and usually leaves me cold as a result.  

track 05 - I'm trying to find fault with this (beyond the attrocious sound), and I got nothing.  What the hell IS this?  It's banging, and while it definitey is derivitive, it is done VERY right.  It's got edge, it's got Turrentine soul, it's got facility.  What the **** is this?!  Even when it goes all Coltrane-flury, it works.  Sounds like what I always wanted Courtney Pine to sound like.  I gotta have this.  Drums are too busy, so I'm guessing his date.   I'd guess Ralph Peterson, but the presence of the organ has me leaning towards Cecil Brooks, III.  How'd I do, coach?

You done good.  It is Cecil Brooks III, but not his date.  Recognize the composition at all?

track 06 - Little Sunflower, in an obvious sense.  It's not Freddie, but someone who likes him a whole lot.  Not Eddie Henderson, tell-tale signs are missing.  Not Woody.  Not Kenny Wheeler, though that feels closest.  Could be later Kenny, I guess, but really doesn't feel up to his level.  Okay, here's a weird thought.  Not getting a clear shot to either guy, but given the instrumentation, I'm going to say Chuck Mangione's band with Chris Vadala.  I'm either nuts, or I nailed it.

You're not nuts and almost nailed it.  It's Mangione, but not with Vadala.  

track 07 - LOVE THIS tune!  Man, she was SO hip!  For my money, this is THE female Jazz vocal album.  Do I need to put a link up?  I mean, this fools no one, but is still a great call in this mix.  Outstanding!

Put a link up.  The guys before you did not get it.  But yeah, I hear you!

track 08 - OH YEAH!  Cactus dances to the radio!  Never gonna get these guys by me.  I would argue this is top 3 Jazz albums of the past 20 years, easily (though, I might be RIGHT at that 20 year mark, huh?).    Leena is pretty friggin' hip herself.  

You need to hip me to more Leena.  And put a link up for this one, too, though Mark also has it silently ID'd.

track 09 - This is the first miss for my ears (camned electric bass does it every time).  I don't know this, but it's groovy.  That's both the best and worst part -- it's groovy.  Could be Harold Alexander, but I haven't heard him go this far in that direction.   Latin/70s/vibes... Dave Samuels?

Not Alexander or Samuels.  The guys here have much more Out reputations than this would suggest, though they were very versatile.  Shockingly ID'd.

track 10 - This just makes me want to get in a big, 70s car and try to outrun Roy Scheider.  Oddly hip, oddly pop-ie.  I want to like it more for some things, and I want to loathe it for others, but I can't quite get to either point. It's in 3, so... there's that.  Curious.

Actually from 1969, but you are so "on" with all you are saying.  Curious indeed, will be a fascinating reveal.

track 11 - This is one where I would crop right to the time section. I understand what they were building, but I think it stands fine without that piece.  Can only tell you who the soprano ISN'T.  Piano sounds somewhat familiar, but could be the sound (has that distinct India Navigation/MPS sound quality -- or lack thereof).  That is a RAW trumpet.  Seems like if Raphe Malik was flirting with hard bop.  Love the drive of the feel, even though the individual components aren't totally hitting.  Pianist commits, I'll give him that.  Overall, I'm not in love with it, but it works.  Could be one of Joe McPhee's things, but I tend to hear his soprano as stronger.  

Good description of the trumpet player, who, to my line of sight, is the most well known musician on this.

track 12 - Who's that fighting the unemployment stick so hard?  Sure sounds like McBee's bass.  Could be Joe Bonner on piano.  Okay, so he's a tenor player who plays soprano.  That breathy vibrato should be a better clue than it is.  Sticking with Cecil/Joe... although, are there TWO bassists?  Now THAT's interesting.  

Cecil but not Joe, though there's a good reason you guessed him.  Only one bassist (Cecil) in the credits.

track 13 - Varitone bass clari?  No, that's soprano and octavia.  Has drive and energy and isn't afraid to take aim and let loose.  Be that Mr. Young?  Seems like [insert 70s rock drummer here] getting together with a Jazz jam.  Varitone is dominating the natural sound of the horn -- not my preference.  Decidedly Hebreic approach.  I think there's a better vibe being laid down than one the sax player is doing with it.  Seems too learned for what the rest of them are doing.  

Not Mr. Young (unless the name here is a pseudonym), but the similarity is why I chose the track.  The horn player is an interesting character on many levels.

Quite a mix, man.  You do not disappoint. 

Thanks, this one was fun.  Appreciate your ears and thoughts, and all you do for us to make these happen!

 

Edited by felser

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Is it December already? Seems like just yesterday it was November. Where does the time go?

TRACK ONE - Who did the first break it down/meet the instruments song, was it Lunceford/Rhythm Is Our Business? No matter, this one has gooten more famous now than ever. It's a great groove, which to reference Lunceford again, ain't what you play, it's the way that you play it. Becuase the song ain't too much, but the way it's played certainly is.

TRACK TWO - That's Joe and Alice from The Elements. This one and Multiple are really good, but maybe overlooked today? Alice's harp here is not really substantial, more veneer than wood, but hey, she's on piano as well, and Joe came to play. The mix is weird, but that's how they did it then, for whatever reason.

TRACK THREE - Too much of not enough for me.

TRACK FOUR - Charles Lloyd/Billy Higgins, I think. I havelistened to this record but not yet lived with it. Drummers have voices too, just like any other instrumentalist worth a damn. And not even Manfred Eicher can hide Billy Higgins' voice. And Lloyd, so much fuller a player now than he was when he first got famous.

TRACK FIVE - Don Braden covering "Can't Hide Love". More jazz players should have done this one, GREAT song,but you know...I liked this record until I didn't, which on damn near every track when Don Braden went from communing with Harold Vick to communing with god knows where they puck up all that full of empty runningdoodle bullshit. PICK ONE, DAMMIT. I know which one I like, but it ain't my record.

TRACK SIX - One for the geezers here, LOL. The pianoless-except-for-Chuck Chuck Mangione Quartet Mercury record with Gerry Niewood and I forget who else, the one with "The Land Of Make Believe" on it. Time for a King Of The Hill episode, but I don't think Hank ever heard this one.

TRACK SEVEN - Stone. Cold. Classic. Period.

TRACK EIGHT - Parker & Hamid can just play by themself and any damn body can be on top of it and they will sound just fine. Leena Conquest is just a plus, those other two guys...who care?

TRACK NINE - hmmmm.....spirited, for sure.

TRACK TEN - I dunno, not Free Design, not Spanky/Our Gang/Bob dorough, not sure who, or, really, why, unless they had nothing better to do just because they could.

TRACK ELEVEN - I like the trumpet. A lot. I'd have to hear the rest of the record to know if this was the best they could do, here it's just, like energy/repetition, and some weird piano processing. But you know, let's see.

TRACK TWELVE - Hmmmm....too easy to play this way and not have anything else going on. And you can't really tell for sure until you get there. My jury is still out, because that probably ain't Pharoah (tone is not full enough, but maybe that's just the recording), and if not that, then why this?

TRACK THIRTEEN - Drummer's just a little too on top of the beat. Too bad, because otherwise, maybe like that mid-70s Sonny band that did The Cutting Edge, only with B-3. Oh fuck, bagpipes, that IS Rufus Harley, ok!

13 tracks, oh my! Thanks for assembling and sharing!

 

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2 hours ago, T.D. said:

Track 9: knowing some of John's tastes (Philly, Khan Jamal et al.), which coincide with mine to a degree, this was instantly recognizable as track 4 from:

https://tinyurl.com/2p872cxv

Arguably a bit cheesy and dated-sounding, but I like the groove and own the (reissue) release.

You got it, shocking to me.  This just came out, and I didn't expect anyone else would have jumped for it as quickly as I did!  You are dead on with my tastes (and I'm in Philly, have been for 50 years, so I come by them honestly!).

OMG, track 10 is a real surprise! B4 from

https://tinyurl.com/3484xubc

I (surprisingly) like it, much more than their more famous (and more saccharine) selections.

You also got this one!  Thought it was an interesting little cut based on the artist and expectations.  I happen to love several of their more famous (and more saccharine) selections.  Classics of the genre.  But realize that will mainly bring me scorn on the board.  More at the reveal.

Great job!

 

 

 

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14 minutes ago, JSngry said:

Is it December already? Seems like just yesterday it was November. Where does the time go?

TRACK ONE - Who did the first break it down/meet the instruments song, was it Lunceford/Rhythm Is Our Business? No matter, this one has gooten more famous now than ever. It's a great groove, which to reference Lunceford again, ain't what you play, it's the way that you play it. Becuase the song ain't too much, but the way it's played certainly is.

Yep.

TRACK TWO - That's Joe and Alice from The Elements. This one and Multiple are really good, but maybe overlooked today? Alice's harp here is not really substantial, more veneer than wood, but hey, she's on piano as well, and Joe came to play. The mix is weird, but that's how they did it then, for whatever reason.

Agreed on all counts, and correct ID.

TRACK THREE - Too much of not enough for me.

But will make for an interesting reveal.  A+ for effort, says I.

TRACK FOUR - Charles Lloyd/Billy Higgins, I think. I havelistened to this record but not yet lived with it. Drummers have voices too, just like any other instrumentalist worth a damn. And not even Manfred Eicher can hide Billy Higgins' voice. And Lloyd, so much fuller a player now than he was when he first got famous.

Correct, album already ID'd, though cut has not been yet.  Agreed on Lloyd, though he's always been interesting (and a good writer), back to the Chico Hamilton days.  But the ECM's were a revelation. 

TRACK FIVE - Don Braden covering "Can't Hide Love". More jazz players should have done this one, GREAT song,but you know...I liked this record until I didn't, which on damn near every track when Don Braden went from communing with Harold Vick to communing with god knows where they puck up all that full of empty runningdoodle bullshit. PICK ONE, DAMMIT. I know which one I like, but it ain't my record.

I love the song and the group sound on it, and while Braden bugs me on the doubletime stuff, he also has some good moments on this.  This cut is the only one I play from the CD, and the only reason I keep it.  I'm not a big Braden guy (nice tone, though), but again, this cut has some magic.  I agree more people should have done this Earth, Wind, and Fire classic.  Carmen McRae's version of it is also really interesting to me.

TRACK SIX - One for the geezers here, LOL. The pianoless-except-for-Chuck Chuck Mangione Quartet Mercury record with Gerry Niewood and I forget who else, the one with "The Land Of Make Believe" on it. Time for a King Of The Hill episode, but I don't think Hank ever heard this one.  

There were actually two of those albums, and I like them both.  Would like to see them on CD.  And yes, this cut and a few others were aimed at my fellow geezers!

TRACK SEVEN - Stone. Cold. Classic. Period.

Yep.

TRACK EIGHT - Parker & Hamid can just play by themself and any damn body can be on top of it and they will sound just fine. Leena Conquest is just a plus, those other two guys...who care?

Yep.

TRACK NINE - hmmmm.....spirited, for sure.

Yep.

TRACK TEN - I dunno, not Free Design, not Spanky/Our Gang/Bob dorough, not sure who, or, really, why, unless they had nothing better to do just because they could.

Just to show they could, except they weren't famous yet.   And I like the Free Design a lot and Spanky and the Gang some.

TRACK ELEVEN - I like the trumpet. A lot. I'd have to hear the rest of the record to know if this was the best they could do, here it's just, like energy/repetition, and some weird piano processing. But you know, let's see.

It's a good album, and the trumpet player is well-respected.

TRACK TWELVE - Hmmmm....too easy to play this way and not have anything else going on. And you can't really tell for sure until you get there. My jury is still out, because that probably ain't Pharoah (tone is not full enough, but maybe that's just the recording), and if not that, then why this?

I posted it due to the inevitable comparison to Pharoah.  Why this will be plenty clear on the ID.

TRACK THIRTEEN - Drummer's just a little too on top of the beat. Too bad, because otherwise, maybe like that mid-70s Sonny band that did The Cutting Edge, only with B-3. Oh fuck, bagpipes, that IS Rufus Harley, ok!

Indeed.

13 tracks, oh my! Thanks for assembling and sharing!

Thanks as always for your fascinating insights!  Again, my goals are to entertain, enlighten, enrage, and I think I accomplished all three!

 

 

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Back for some more having tried not to read other folk's comments although

I did spot the ID for track 2 and that will teach me to sell my Joe Henderson - Milestone Years boxset years ago.  i knew it had to be Michael White just because it I know felser's regard for him.

Track 3. - I only ever remember hearing Peggy Lee's version of this in my very early Jazz listening years. This version really hits home and I'm intrigued to hear who it is. I'm not a great listener to vocal Jazz but occasionally something hits home like this

Track 4. - hangs head in shame. I count myself a big Lloyd fan and can't believe I missed this one. My only excuse is I was cooking at the time...his ECM's are a goldmine

Track 5. - nice groove. It reminds me of David Murray and Don Pullen but it's obviously not them. Earlier I'm guessing but not a lot. Doesn't really stand out for me

Track 7. - nice bass. I can never really get with this style of singing. My loss, I'm sure

Track 9. - just love this from the off. Those vibes and flute, irresistible! Now question is, do I have this? If I don't I will after the reveal.  Is it one of the Black Jazz catalogue that I've not caught up on nearly enough? The vibes again, Khan Jamal?

Track 10. - This makes me think of Charles Stepney but I haven't a clue what it is.  It keeps breaking from Soul into a slightly more Mamas & Papas feel. I like it, I think

Track 11. - hooked from the off. Another tune that sounds just like I was expecting from this BFT. Liebman on soprano? Great drumming. Trumpet has that Curson/Hannibal feel but I don't think it's either. I hope there's an album's worth of this, love it! Sounds like it's the drummer or pianist's date to me

Track 12. Not Pharaoh but someone who wants to be or holds him in very high esteem. Cleaves a bit too close to its influences. The freer second sax solo makes me wonder about Pharaoh again but I still don't think so for some reason. because if it's not him then there's really no point in someone else playing so like it.  I've not heard Isaiah Collier yet but this is kind of what his reviews suggest to me which is why I haven't listened to him.

Track 13. Another great groove. You must spend your life dancing around the house to tunes this groovy John :) Don't know who but want to. Possibly the best unknown for me

Such an entertaining selection. There's at least four I need in my life and several others that I'll look forward to knowing more about. Thanks a lot

 

 

Edited by mjazzg

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14 hours ago, T.D. said:

OMG, track 10 is a real surprise! B4 from

https://tinyurl.com/3484xubc

I (surprisingly) like it, much more than their more famous (and more saccharine) selections. Really far from my usual listening, but a real eye (ear?)-opener.

 

That explains everything.

Ok, Black Coffee is this, which also explains everything. 

https://www.discogs.com/release/9891497-The-Pointer-Sisters-Thats-A-Plenty

Their eventual changing of labels/producers/overall direction was a major improvement, imo.

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Just a heads up -- where I referenced posting links, I did include them as hyperlinks on the word "this".

Jim, with due respect, I'd say there's a great deal to appreciate about Mssrs. Brown and Barnes on the Parker cut, though I agree with your broader assessment.  I kind of see Flip like Bill Hardman with Blakey's band -- not the guy who makes you ignore Lee or Freddie, but an integral piece of the band and what it does.  Likewise Brown.  Maybe a good comp to Odean Pope with Max. 

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Well my friend John did not disappoint, at least in terms of making a gear-grinding change from the November BFT. :g

As we've established a while ago, John and I only occasionally agree on this wide-ranging thing we call jazz, and because I usually suck at IDing, I've decided to change my approach and comment based on Did I Hate it? Or Did I NOT Hate it?  (This is also a bit of a play on my last BFT's WWFL approach to some programming.)

So with apologies in advance, away we go:

TRACK 1: I do NOT hate it. But not sure if I'd hang out for an entire album's worth of this PAR-TAY.

TRACK 2: Certainly of it's time, and even more so when I see the titles of the tracks via discogs.  I didn't start out hating it, but I unfortunately got to that point somewhere around Joe's over-blowing, and the violin.

TRACK 3: I do NOT hate this. I thought the singer got a bit over-mannered at "BLACK ...... coffee" though. Scatting didn't help and I would have liked it more without the strings.  Hard shot knocked down by the SS but a single all the way. :g

TRACK 4: Don't Hate/Don't NOT Hate. Love the drummer, don't love the sax.

TRACK 5: Same as #4, with a little more emphasis on "Don't NOT Hate".  I think 20 years ago or so I'd dig this a lot more, but it reminds me of why Eric Alexander is not so special to me anymore ...mindless note-running. Notes and more notes, for notes-sake. Liked the rest of the group though.

TRACK 6: Do NOT Hate ... at the start.  I've always dug this tune and the trumpet is very fine ... but that saxophone and his note-running. Ugh. It's like a double, then called out on the hidden-ball trick.  Major missed opportunity, for my tastes.

TRACK 7: Do NOT Hate this.  But I like the sax more than the singer.

TRACK 8: Do NOT Hate this, and I say that without reservation. Singer has more appeal than #7, for sure, and I dig the bass.

TRACK 9:  All I wrote down is HATE it.

TRACK 10: Don't know what to say about this except ... mercifully short?  Having seen the answers, I am left to wonder whether I would have independently recognized Richard's multitracking vocals technique or not.

TRACK 11: HATE it. Shortest duration before I bailed.

TRACK 12: HATE it. Only reason it took longer to get the Gong Show treatment was that it took a little longer for the sax to show up.

TRACK 13: HATE it - and with those effects, I am afraid we have to wrap up with the dreaded REALLY HATED it. :g

I kind of hope others will adopt my nomenclature. So much more direct and honest than Don't Know Don't Care.

Still, always a pleasure John. Hope you get a lot of traffic like last time, you are certainly off to a good start.

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  1. Bouncy little number, but not something I expect when listening to jazz.  Is it jazz?
  2. This is OK, but it has a dated quality.  That sounds like an echo effect on the sax solo.
  3. Nice vocal…smoky kind of sound.
  4. This is certainly a track from Which Way is East?--one of the better ones.  Despite my considerable admiration for Lloyd and Higgins, I was never able to get too deeply into this CD (a double at that); it’s best taken in small doses.
  5. Sounds like a typical Blue Note organ date, although I’m thinking the tenor player is the leader.  It’s enjoyable enough, but much of this stuff doesn’t stand out when played by those who are not in the top tier. 
  6. The Fender Rhodes suggests an older date, but maybe not.  This sound has kind of come back into vogue again.  Nice groove and a good trumpet solo. This is like something Dave Douglas would do, but it does not sound like him.   
  7. Now something completely different!  Nice swinging feel and relaxed vocal. It’s OK, but there aren’t too many vocalists who really knock me out.
  8. Long track with vocal prominent.  Nice interaction between singer and group.  No idea who this is.
  9. This also sounds dated.  I do like the vibes. 
  10. The diversity of this BFT is impressive.  Not sure what this or what I think of it.
  11. This is OK, sounding both a bit "out" and a bit monotonous.
  12. I’m thinking Jan Garbarek, but just a guess. No, it can’t be him—not with all that screaming.
  13. I’m afraid it doesn’t do much for me.  Bass line is too repetitive; ending is quite strange.

     -- Interesting BFT.  I apologize for sounding grumpy in some of my responses.  I must be trying to stay in my comfort zone too much.

 

 

Edited by Milestones

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1 hour ago, mjazzg said:

Back for some more having tried not to read other folk's comments although

I did spot the ID for track 2 and that will teach me to sell my Joe Henderson - Milestone Years boxset years ago.  i knew it had to be Michael White just because it I know felser's regard for him.

Great box set!

Track 3. - I only ever remember hearing Peggy Lee's version of this in my very early Jazz listening years. This version really hits home and I'm intrigued to hear who it is. I'm not a great listener to vocal Jazz but occasionally something hits home like this

Will be a fascinating ID/reveal.

Track 4. - hangs head in shame. I count myself a big Lloyd fan and can't believe I missed this one. My only excuse is I was cooking at the time...his ECM's are a goldmine

Agreed, the ECM's are wonderful, his best.  

Track 5. - nice groove. It reminds me of David Murray and Don Pullen but it's obviously not them. Earlier I'm guessing but not a lot. Doesn't really stand out for me

Actually much later.  ID'd by Jim.

Track 7. - nice bass. I can never really get with this style of singing. My loss, I'm sure

Surprised no one has commented on the saxophone player.

Track 9. - just love this from the off. Those vibes and flute, irresistible! Now question is, do I have this? If I don't I will after the reveal.  Is it one of the Black Jazz catalogue that I've not caught up on nearly enough? The vibes again, Khan Jamal?

Yes, my man Khan Jamal!  Flute player and guitarist are also interesting names.

Track 10. - This makes me think of Charles Stepney but I haven't a clue what it is.  It keeps breaking from Soul into a slightly more Mamas & Papas feel. I like it, I think

ID'd by TD.  Pretty interesting.  People rightly have conflicted feelings on it.  I bet the arranger would be proud to be compared to Stepney!

Track 11. - hooked from the off. Another tune that sounds just like I was expecting from this BFT. Liebman on soprano? Great drumming. Trumpet has that Curson/Hannibal feel but I don't think it's either. I hope there's an album's worth of this, love it! Sounds like it's the drummer or pianist's date to me

Not Liebman, not Curson/Hannibal, but a very good trumpet player.  Drummer's date.  There are two full albums of this stuff!

Track 12. Not Pharaoh but someone who wants to be or holds him in very high esteem. Cleaves a bit too close to its influences. The freer second sax solo makes me wonder about Pharaoh again but I still don't think so for some reason. because if it's not him then there's really no point in someone else playing so like it.  I've not heard Isaiah Collier yet but this is kind of what his reviews suggest to me which is why I haven't listened to him.

Not Pharoah, but there's good reason this cleaves so close to its influences.  Recorded about 45 years before Collier's debut (BTW, not familar with him).

Track 13. Another great groove. You must spend your life dancing around the house to tunes this groovy John :) Don't know who but want to. Possibly the best unknown for me

My 3 year old grandson and I do a lot of listening and dancing around.  Getting laid off at 66 is turning out to be one of the best things that's every happened to me!

Such an entertaining selection. There's at least four I need in my life and several others that I'll look forward to knowing more about. Thanks a lot

Thank you, Mark, always appreciate our exchanges!  Almost all of this is readily available on CD, and none of it should set you back too much.

 

 

 

1 hour ago, JSngry said:

Ok, Black Coffee is this, which also explains everything. 

https://www.discogs.com/release/9891497-The-Pointer-Sisters-Thats-A-Plenty

Their eventual changing of labels/producers/overall direction was a major improvement, imo.

I actually strongly disagree, but the record buying public is totally with you.  Don't forget that Bonnie (who is singing here) left, which also greatly changed the group.

23 minutes ago, Milestones said:
  1. Bouncy little number, but not something I expect when listening to jazz.  Is it jazz?  No!
  2. This is OK, but it has a dated quality.  That sounds like an echo effect on the sax solo.  Indeed, of its time.
  3. Nice vocal…smoky kind of sound.  ID'd by Jim.
  4. This is certainly a track from Which Way is East?--one of the better ones.  Despite my considerable admiration for Lloyd and Higgins, I was never able to get too deeply into this CD (a double at that); it’s best taken in small doses.  Totally with you, though it certainly is an interesting collection.
  5. Sounds like a typical Blue Note organ date, although I’m thinking the tenor player is the leader.  It’s enjoyable enough, but much of this stuff doesn’t stand out when played by those who are not in the top tier.  I don't know of anyone considering these guys to be absolute top tier, though they are certainly capable.
  6. The Fender Rhodes suggests an older date, but maybe not.  This sound has kind of come back into vogue again.  Nice groove and a good trumpet solo. This is like something Dave Douglas would do, but it does not sound like him.   Correct, he's a long way from Dave Douglas!
  7. Now something completely different!  Nice swinging feel and relaxed vocal. It’s OK, but there aren’t too many vocalists who really knock me out.  Any thoughts on the sax player?
  8. Long track with vocal prominent.  Nice interaction between singer and group.  No idea who this is.  ID'd by a few others.
  9. This also sounds dated.  I do like the vibes.   Certanly of its time.  The vibes player has proven to be a monster of the instrument.
  10. The diversity of this BFT is impressive.  Not sure what this or what I think of it.  ID'd, and the point was for people to not be sure what they think of it!
  11. This is OK, sounding both a bit "out" and a bit monotonous.  Mixed responses to this cut.
  12. I’m thinking Jan Garbarek, but just a guess. No, it can’t be him—not with all that screaming.  Not Garbarek.
  13. I’m afraid it doesn’t do much for me.  Bass line is too repetitive; ending is quite strange.  Agreed - I like the organ solo a lot.

     -- Interesting BFT.  I apologize for sounding grumpy in some of my responses.  I must be trying to stay in my comfort zone too much.

No apology necessary.  I'm indeed trying to knock people out of their comfort zones and preconceptions in different ways,  Goals were to entertain, enlighten, or enrage!  Thanks for listening and sharing your thoughts!

 

 

 

Edited by felser

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That triple goal is interesting: entertain, enlighten, enrage!  That appears to be your credo!

 

 

 

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1 hour ago, Dan Gould said:

Well my friend John did not disappoint, at least in terms of making a gear-grinding change from the November BFT. :g

As we've established a while ago, John and I only occasionally agree on this wide-ranging thing we call jazz, and because I usually suck at IDing, I've decided to change my approach and comment based on Did I Hate it? Or Did I NOT Hate it?  (This is also a bit of a play on my last BFT's WWFL approach to some programming.)

So with apologies in advance, away we go:

TRACK 1: I do NOT hate it. But not sure if I'd hang out for an entire album's worth of this PAR-TAY. 

It's a really good album, but guys our age only par-tay for so long!

TRACK 2: Certainly of it's time, and even more so when I see the titles of the tracks via discogs.  I didn't start out hating it, but I unfortunately got to that point somewhere around Joe's over-blowing, and the violin.

So very of its time.

TRACK 3: I do NOT hate this. I thought the singer got a bit over-mannered at "BLACK ...... coffee" though. Scatting didn't help and I would have liked it more without the strings.  Hard shot knocked down by the SS but a single all the way. :g

Agreed on the strings.  Interesting who the singer is, trying to stretch herself.

TRACK 4: Don't Hate/Don't NOT Hate. Love the drummer, don't love the sax.

Everybody always loved that drummer.

TRACK 5: Same as #4, with a little more emphasis on "Don't NOT Hate".  I think 20 years ago or so I'd dig this a lot more, but it reminds me of why Eric Alexander is not so special to me anymore ...mindless note-running. Notes and more notes, for notes-sake. Liked the rest of the group though.

Agreed, I'm not a big fan of the sax player (though I actually do like Alexander a LOT), but he does some good things (and some not so good things) on this cut, I have liked the organ player whenever I have heard him, and the drummer (plus the great composition) make this cut for me.

TRACK 6: Do NOT Hate ... at the start.  I've always dug this tune and the trumpet is very fine ... but that saxophone and his note-running. Ugh. It's like a double, then called out on the hidden-ball trick.  Major missed opportunity, for my tastes.  The fact that the trumpet is fine is the purpose of my posting this cut!

TRACK 7: Do NOT Hate this.  But I like the sax more than the singer.

Everybody likes the sax player.  Surprised there have not been more comments on him.

TRACK 8: Do NOT Hate this, and I say that without reservation. Singer has more appeal than #7, for sure, and I dig the bass.

The bassist has an amazing body of work.  This is his album.

TRACK 9:  All I wrote down is HATE it.

Well all right, then!

TRACK 10: Don't know what to say about this except ... mercifully short?  Having seen the answers, I am left to wonder whether I would have independently recognized Richard's multitracking vocals technique or not.

Thought it was an interesting use of 1:40.

TRACK 11: HATE it. Shortest duration before I bailed.  

Not surprised.

TRACK 12: HATE it. Only reason it took longer to get the Gong Show treatment was that it took a little longer for the sax to show up.

Not surprised.

TRACK 13: HATE it - and with those effects, I am afraid we have to wrap up with the dreaded REALLY HATED it. :g

Not surprised.

I kind of hope others will adopt my nomenclature. So much more direct and honest than Don't Know Don't Care.

Agreed it's a good nomenclature, though I think Don't Know Don't Care is extremely direct and honest!

Still, always a pleasure John. Hope you get a lot of traffic like last time, you are certainly off to a good start.

Dan, I get great enjoyment out of your good-natured visits to my BFT's.  And those visits are an act of great generosity on your part, as you already know very little of the music will be up your alley!   Looking forward to you setting us straight and steering us back to Gene Harris-ish land (and there's nothing to hate about that)!

 

12 minutes ago, Milestones said:

That triple goal is interesting: entertain, enlighten, enrage!  That appears to be your credo!

 

 

 

Indeed!

1 hour ago, tkeith said:

Just a heads up -- where I referenced posting links, I did include them as hyperlinks on the word "this".

Thanks Thom!

Edited by felser

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I don't know John, "HATE it" is a lot more visceral to me than DKDC(tm). :g

 

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That has to be the great Cannonball Adderley on #7.   

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Reading some of the IDs now and with your comments, 

So Khan Jamal it is and I see T.D. has ID'd it so I can go to my shelves and play it now :lol:. I just have too many albums if I miss this ID. It's a terrific listen.

Track 10. - ha! Apologies Mr Stepney. I grew up to my Mum listening to them, still have a little soft spot even for the most poppy stuff. She could sing.

And now I know that the Pointer Sisters existed before 'Slowhand'.  It's always an education here

Track 12 intrigues me on a number of levels. 45 years old makes it contemporaneous with Pharaoh's albums. I haven't listened to Collier yet as I fear he's going to be "Spiritual by numbers" but I will sometime and hopefully be pleasantly surprised. He's on the upcoming Kahil El'Zabar album which is some kind of recommendation.

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9 minutes ago, Dan Gould said:

I don't know John, "HATE it" is a lot more visceral to me than DKDC(tm). :g

 

No argument there!

1 minute ago, Milestones said:

That has to be the great Cannonball Adderley on #7.   

Yes it does!

1 minute ago, mjazzg said:

Reading some of the IDs now and with your comments, 

So Khan Jamal it is and I see T.D. has ID'd it so I can go to my shelves and play it now :lol:. I just have too many albums if I miss this ID. It's a terrific listen.  You already have this one?  It just came out a couple months ago.

Track 10. - ha! Apologies Mr Stepney. I grew up to my Mum listening to them, still have a little soft spot even for the most poppy stuff. She could sing.  Yes she could!

And now I know that the Pointer Sisters existed before 'Slowhand'.  It's always an education here   Long before, very different approach.  PM me for more.

Track 12 intrigues me on a number of levels. 45 years old makes it contemporaneous with Pharaoh's albums. I haven't listened to Collier yet as I fear he's going to be "Spiritual by numbers" but I will sometime and hopefully be pleasantly surprised. He's on the upcoming Kahil El'Zabar album which is some kind of recommendation.

Yes, that's a heavy recommendation in my book.  Will need to look into him,

 

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I find Cannonball to be comforting in our difficult present time.

 

 

 

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48 minutes ago, felser said:

I actually strongly disagree, but the record buying public is totally with you.  Don't forget that Bonnie (who is singing here) left, which also greatly changed the group.

They never really totally fit into the "Soul LH&R" thing imo. It didn't seem organic most of the time. David Rubinson tried, they tried, EVERYBODY tried. But as with love, you cant hide trying. I mean, Yes We Can" was from that same period and THAT was organic to them, no trying there. some of the other things. But I find their "jazz" work (including this one) to be...on a level of that Maria Muldair album with Benny Carter - well intentioned, and not without SOME merit, but...it's a billboard for a town, not the town itself.

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10 minutes ago, felser said:

So Khan Jamal it is and I see T.D. has ID'd it so I can go to my shelves and play it now :lol:. I just have too many albums if I miss this ID. It's a terrific listen.  You already have this one?  It just came out a couple months ago.

Yes, I got the LP from the US too. Seems a while ago now possibly before CvsD did the CD

10 minutes ago, felser said:

 

 

 

Edited by mjazzg

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