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I wonder if 'noodling' is covered in chapter 4?

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The Billy Bauer one in the archive achieves the impossible; someone who can out-talk Phil!  I sent a link to two friends of mine who studied with him, and they're spending hours listening to it. BB's studio was located above a bar, so his tongue was very loose. One of my friends said he could write a book just about the lessons. The one with Joe Dixon is pretty special to me, because it's got 1/8th of a session i played on with Joe. I did most of the arranging,, and wrote some tunes for it, too. Phil was selling it on his website for a lot of bread, and then he passed. I wonder if the archive will include stuff like that? At least I got part of it.

Thanks for this playlist. Most diggable. Notes below, with only a few stabs at IDs. Plenty of typos, I'm sure; begging your pardon in advance. 1 = Shades of Rev. J.M. Gates, but it's not! Nor is it the Lemon Chill man from the old Ballpark at Arlington. The timbre is not purely a product of the recording fidelity. Is there a name for this vocal “effect”.  2 = Gil Evans for sure, from the INDIVIDUALISM record. He and Creed Taylor made a nice combo; that is, I think Taylor knew how to record Evans and bring out the cinematic aspects of his arrangements. I think this is “The Barbara Song”. I love how unhurried it is, but then you have Gary Peacock adding dramatic tension throughout. Which Wayne tunes in on. It’s almost worth listening to this again as a Shorter - Peacock duet. But then Wayne is doing so much to add even more color to the arrangement. Also, can we talk about how underrated Evans is as a pianist? 3 = A Wayne-ish tenor, and another somewhat sinister theme. I don’t think this is Ran Blake, but the harmonic language feels very Blakean. The tenor is fluid but not facile. The speech-like flourishes are actually quite subtle. George Garzone perhaps? I don’t think its Stephen Riley, but he’s another tenor who’s done something original with a range of influences. Singing! (3:00 mark or so). This is like an obbligato to a vocal only the tenor can hear. I’m surprised by how much momentum this has picked up. Not Blake, I don’t think, but the more I listen, the more this feels like it’s in that Gunther Schuller-NEC orbit. Not a criticism, BTW. So, yeah, Garzone is my guess. I’ve kind of slept on him. 4 = OK, I was not expecting more harp! Or flute, for that matter. I have no idea what it is, but I like this version of Modernism. Could this be a piece by Mel Powell or Hall Overton or another figure who straddled the worlds of jazz and modern classical music? I’m also getting Egisto Macchi vibes here (more so than Debussy or Ravel.) What pieces do I know that are scored for flute, oboe and harp? None, but I’m eager to hear (and learn) more. Also, I’m getting the tryptophan reference now.  5 = Dimetapp trombones: I’m down. I recognize this song. Jo Stafford? Yes, but dates from a very different era. This is some nicely deconstructed writing … that piercing flute note, the cello weaving in and out. I feel like we are still in the realm of Evans, somehow. Is this Rickie Lee Jones on vocal? I don’t think so. Not your typical chanteuse whoever it is. there’s kind of a hollow, clarinet-like quality to her voice that I find appealing. Not quite husky, but not wispy either.  6 = Where did this tempo come from? (Oh, we’ve hit the flipside now…)  How the tenor shakes that last note of the theme. This is not Johnny Griffin, but this must be a tenor Griffin listened to very closely. I’m not sure I’m following the drummer, but that’s OK. He can keep doing his thing. Tiny Grimes on guitar? Wait, this is Jimmy Forrest with Grant Green, Harold Mabern, Gene Ramey and Elvin Jones: those Delmark dates. Ok, I need to revisit these. I thought I knew these records pretty well, but I suppose I don’t. 7 = This tune is so familiar… this is going to torture me. It’s a Lee Morgan tune, I think [?]. Horace Silver? Guiro? This bassist is doing some heroic work. Have no idea who the horns are. Is this a track from Sliver ’N Percussion? Well, no, that’s not Horace on piano. But this is a Silver tune. From TOKYO BLUES. (Googling). Holy sh*t. If this is now what I think it is, not a few surprises here … especially in the percussion session. Well, this is a record I probably never would have given a second though until now. Thanks! 8 = Drawing blanks here, but I like how the percussion is integrated into the performance. Tyner-ish piano, but I suspect the saxophonist is the key to this one. Sonny Fortune? Gary Bartz? I’m doubting Bartz, but I’m not sure why. Certainly an alto player who has reckoned with Coltrane. Backbeat asserting itself! How is this the same tune we started with. A journey for sure.  9 = Gabor Szabo on guitar for sure. Nobody else could get that sound out of an electric guitar. Could be from one of his early Impulses, but something tells me that, keeping with the percussion theme, I should be paying close attention to the drummer. So, rewinding and doing that! Oh, yes, well, tasty to say the least. But stealth tastiness. Case in point: 2:40 forward. Damn. I’m now hearing that Billy Ficca of Television was like the heavy metal version of Chico Hamilton. That is, I’m guessing this is one of the Chico Hamilton groups with Szabo. Which one, and which track, I don’t know. But as soon as all is revealed, I will be revisiting! 10 = Welcome to the bordello! This kind of sax playing is now a kind of historical curiosity, and it’s been ruined by the cliches that have grown up around it, but this track is a nice reminder of what it could express - and how other instruments couldn’t express those same things in the same way. (Although I suppose you could say that about almost any instrument, its the sometimes indeterminate nature of the saxophone’s timbre that makes it uniquely expressive, at least to my ear.) What the heck are those chords the piano player is laying down right before the 2-minute mark? Interesting tenor sound, more pitch up/registered up than I’d expect. I mean, its tenor, but its more Hodges than Webster. And do I hear some Earl Bostic in there, too? Curious to know who this is. Surely not Plas Johnson… but I’m guessing someone who’s not strictly a jazz player.