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Pim

BFT#220

27 posts in this topic

2 hours ago, tkeith said:

Apologies for the delay in getting to this.  I had a good start, then life through curves (including Covid), but I finally got my ears to the rest of it.

thanks for attending Tom and glad you’re recovered from that nasty virus. 

Track 01 - Yes, please.  Sound is a little strange (VERY strong channel separation), but music is spot on.  Drums have that light sound of a Theresa Records recording.  Not much in the way of effects on the vibes, a very clean sound.  Patient improviser, as well.  Pianist is a bit over-zealous at times, but this really works.  Hmmm... who it isn't:  Joe Bonner, Cecil McBee... who it is?  Having a bit more trouble there.  Almost wondering if this might be Embryo doing another crossover project, but this sounds definitively like a group of Jazz players.
Its the vibist date. It’s definitely in that McBee/Bonner alley. You’d probably were aware of the fact that I like them a lot.  

Track 02 - It's interesting, but I don't care for that bass.  Electrified of some sort.  Doesn't quite hit the mark, but it IS interesting.

Track 03 - Like the understated trumpet, but unsure who it is.  Something very Brubeck about the piano.  Like the use of the arco bass on the melody, too.  Nice cut, but I can't put a finger on it.  I don't think I know these players.

Oh Tom I’d bet my life on it that you know this trumpet player. Pretty sure you know the pianist as well.

Track 04 - This is pretty tasty.  A bit busy, but works quite well.  Writing makes me think Jerry Sabatini, but that doesn't sound like his trumpet work.  The setting is nice for the soloists, but feels like they didn't really make the most of it.  I wanted the tenor player to cut loose, but all I'm hearing is the practice room, and I'll never understand why this happens.  Overall, this seems like it wants to be in the vein of Old and New Dreams, but to my ear, doesn't quite make it (despite the stellar bass work).  
Well these guys might be a little too schooled here and there. Fresh talent. They got the world influences in common with OAND.

Track 05 - First impressions were 70s Messengers.  Then the horns came in and it felt almost like Elvin's Jazz Machine.  It's neither of those, but seems heavily indebted to both (not a bad thing at all).  Maybe Franklin Kiermyer on drums?  I like this better than the last cut, but the tenors, particularly the second, seem to suffer from the same issue.  There's a great energy built up for them to plug into, then they just don't.  By the time the second guy digs in, he's lost me.  If you cut the first section of his solo out, you've got a pretty good solo.  As it stands, it just misses the mark, despite the drummer absolutely kicking their ass.  Some definite McCoyisms from the pianist, but I don't think it's the Master himself.  Still, nice open chord voicings, struck convincingly, and it fits the mood built by the drums/bass.  Really like this pianist.  Like McCoy on decaf!  Oh wait, the espresso just kicked in.  If the tenor players could match this fire, this cut would have been something intense.  As it is, it's a good track, but it had the potential to be epic.  That surely sounds like Kiermyer going full Elvin.  

It’s not Kiermeyer nor Elvin but the drummer was definitely influenced by Jones. It’s his date.

Track 06 - Almost has me thinking Hank Jones when he gets into the stride feel.  No idea, but this is very nice.

 

Track 07 - Actually really appreciate Tuvan throat singing, but frustrated that I can't do it.  This person clearly can.  I'm not convinced it works, here, but neither am I convinced it doesn't.  I like the understated trombone work, but I'm not fully feeling the mix of these two voices.  It's neat, but not sure I need it.

Track 08 - Certainly has an ECM feel.  Not as flashy as Michel Petrucciani, maybe Bobo Stenson?  It's nice, but that's also where it's problems lie -- it's a bit polite.

It’s not Stenson. Don’t really like him. This is one of the nicer tracks from the album. There are definitely more tense tracks as well.

Track 09 - Wait, I have this.  I know I do.  AH!  At 2:17-2:38 it reveals itself distinctly.  It's from this, one of my favorite albums from my early teen years.  Of course, if it hadn't revealed itself, once the big guy comes in, you'd know it.

Bingo! That’s a full id on that one!

Track 10 - Quite reminiscent of a tune from a Connecticut band in the early oughts called The Jazz Aesthetic.  They showed up on one of my BFTs.  I will guarantee this is NOT them.  :D Something about the feel has me leaning Vijay Iyer.  A bit mathjazzy for my liking, but I know a lot of folks I play with would love it.  Given that statement and the busy drumming, I have to wonder if that's Brian Blade.

I could see why you’d think of him. Definitely jazz modernists.

Track 11 - Nice voicings.  I desperately want this to be a Mal Waldron cut, but it isn't.  Surely has his feel, though.  Wait!  At 2:14, there's no way this ISN'T Mal!  But what?  Digging through my Mal stash, I don't have it.  Perhaps just a sycophant's take?  It's excellent, whatever it is, but now I'm going to not sleep.

Yeah this is definitely Mal! You shouldn’t be mad at yourself as you probably don’t own his whole 140+ album discography :P

 

2 hours ago, tkeith said: 

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3 minutes ago, Pim said:

thanks for attending Tom and glad you’re recovered from that nasty virus. 

Not yet, bud.  Still in the think of it.  Anybody tells you it's just a bad cold can go stuff themselves.  #thisAintNoJoke

3 minutes ago, Pim said:

Yeah this is definitely Mal! You shouldn’t be mad at yourself as you probably don’t own his whole 140+ album discography :P

True, but I'm probably closer than most!  :D

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