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I also got early Ra vibes from the intro of #1, but eventually decided it's probably somebody else.

1. Something a little tart in the harmonies of the theme has me thinking early Sun Ra, but the alto solo leads me away from that. Art Pepper? 2. Bass is upfront in the recording, suggesting late seventies or later. I'd suspect the bass is the leader, but get no Mingus vibes at all. Maybe not, maybe Kahil El-Zabar? 3. Post-Ayler tenor meets hand drums. Joe McPhee? 4. Back inside. Stanley Turrentine? 5. Back out with awesome horn control and facility. I didn't start thinking Coltrane Interstellar Space until the second half, and I don't think it is, but that's a reference point. The first part is edgy and precise. How about Sam Rivers? 6. Still out, but seems to be an older recording. The bowed bass should be a clue ... Two basses? Maybe Sonny Simmons? 7. Sunny inside theme. Since I can't get a handle on the horn, I'll guess it's the pianist's data - Kenny Barron? 8. Is that lead kazoo? Yields to excellent clarinet. Darktown Strutters Ball. Length doesn't rule out pre-50s and the style fits. Louis Armstrong? 9. Two different lower flutes? alto and bass flutes? if it were Art Ensemble of Chicago, we would hear some bass too, so no. Cant buy Mann, Laws or Steig. Lloyd McNeil? If so, who's the second flute, it doesn't sound overdubbed. 10. Some electric bass and R&B elements. Fathead Newman? 11. Sounds like the vocalist is an earlier generation than the rest of the band - I thought of Al Hibbler.

Grateful Dead “Dave’s Picks, Volume 10 (Thelma, Los Angeles, CA)” 12/12/69)" 3 cd set, disc 2

Liking this so far. 11 is the only one I recognize offhand: A4 here, though I have it on a multi-artist compilation.

Yes. I used to sail and race 4.2 meter boats back in college sailing club. It's a fun thing to do!

Only know power boats. Have been on a sailboat and catamaran but no knowledge of how to operate them.

Like a boat and shit? On the actual water!

I had never heard of these releases until now. Learned something new today. Mosaic box?

Teddy Edwards, Heart and Soul

Milt Buckner, Arnett Cobb, Candy Johnson – Midnight Slows Vol 3 I love Black and Blue but hadn't listened to any of the Midnight Slows records before. It seems to be Black and Blue's answer to Moodsville. This one is really good.

This doesn’t take into account the people who post about jazz at Hoffman.

I think I joined within a few days.

Thrown together a bit hastily, with a few tracks that go off into the hinterlands. Nevertheless, here is the link for the April BFT: https://thomkeith.net/2026-organissimo-blindfold-tests/

Fantastic set. Lots of surprises too. Thanks for doing this.

“Diana & Marvin” From this box set

1. “HFR” (Stan Hunter). Stan Hunter and Sonny Fortune, Trip on the Strip (1966). Hunter (organ), Fortune (alto sax), Sherman Suber (guitar), John Royal (drums). One of those Prestige dates that never got OJC-ed somehow. Hunter does seem to have a pretty personal style, but, to my ears, this is about where Fortune is coming from — and where he’s going. 2. “Jim’s Idea” (“Jim Daddy” Walker). Recorded 1944. Available on Pete Brown: The Classics Chronological Series – 1029 (Pete Brown: 1942-1945). Walker (guitar), Brown (alto sax), John Levy (bass), Eddie Nicholson (drums). Of it’s time, but looking forward to the future. Brown sounds just so powerful here. And, as the “other Jim” (in this context) noted, yes, this could almost be Lockjaw. Shame that Brown’s health declined so precipitously as it did in the 50s. But there’s a lot of 30s and 40s material to explore. 3. “Karachi” (James Taylor). Gene Shaw, Debut in Blues (1963). Gene Shaw (trumpet), Herb Wise (trombone), Jay Peters (tenor sax), James Taylor (piano), Sid Robinson (bass), Jerold Donovan (drums). The band of 1957-1958 is one of my favorite Mingus ensembles, with Shafi Hadi and Clarence “Gene” Shaw being the primary reasons why. Shaw’s Argo records were just listings in a discography for the longest time. But, I have to say, they exceeded expectations when I heard them. I don’t know if any of these other Chicago guys played with Sun Ra, but I do hear how this is kind of Sun Ra adjacent. Does anybody here know much about the other members of this band? 4. “The Oom Is Blues” (Charlie Mariano; arranged by Mariano, conducted by Quincy Jones). Quincy Jones, Go West, Man! (1957). Pepper Adams (baritone sax), Walter Benton (tenor sax), Buddy Collette (tenor sax), Bill Perkins (tenor sax), Carl Perkins (piano), Leroy Vinnegar (bass), Shelly Manne (drums). Who knows what Quincy really contributed to this, but I won’t cast aspersions here. This is probably the first time I really heard the Lucky Thompson roots in Benton’s playing. Adams sounds great. Carl Perkins sounds great. I mean, Quincy probably didn’t need to do much given who’s on the call sheet! 5. “Blue Bossa” (Kenny Dorham). Eddie Daniels & Bucky Pizzarelli, Blue Bossa [aka A Flower For All Seasons] (1973). Daniels (bass clarinet), Pizzarelli (guitar). I had originally thought to include Daniels the tenor player in this BFT, but I went with this track instead. I’m still undecided on this one; interesting to read the candid responses to it. I picking up some f what they’re laying down. But I am a sucker for a bass clarinet. 6. “Buena Vista Swing” (Leandro Guerrero). Recorded ca. 1950. Available on Pachuco Boogie (Historic Mexican American Music, Volume 10). Leandro Guerrero (accordion), Frank Corrales (guitar), Willie Gonzalez (bass). Great anthology featuring the Don Tosti recordings. But I picked this one because of its explicit connections to the norteño music that was so much a part of the daily soundtrack in the Dallas neighborhood where I grew up. 7. “Jambalaya” (Hank Williams). Roy Clark & Joe Pass Play Hank Williams (1994). Clark (guitar), Pass (guitar), Jim Hughart (bass), Colin Bailey (drums). I understand the criticisms leveled at this, but I still think it’s fun to hear Clark shred. 8. “Teheran” (Friedrich Gulda). Friedrich Gulda, At Birdland (1958). Idrees Sulieman (trumpet), Jimmy Cleveland (trombone), Phil Woods (alto sax), Seldon Powell (tenor sax), Gulds (piano), Aaron Bell (bass), Nick Stabulas (drums). A little stiff and maybe even shrill in spots, but worth it for Powell’s solo. One of those players whose own leader dates are fine, but who seems to shine most when he guests. 9. “Taurus the 20th” (Rufus Harley). Rufus Harley, Scotch & Soul (1966). Harley (tenor sax), Oliver Collins (piano), James Glenn (bass), Billy Abner (drums). As soon as you learn it’s a Philly thing, you can’t unheard the Philly-ness of it. Oliver Collins went on to play with Monnette Sudler. 10. “Canon” (Charles Mingus). Robert Ottaviano & Alexander Hawkins, Charlie’s Blue Skylight (2022). Ottaviano (saxophones). Ottaviano has a pretty extensive discography that merits exploration. that includes this record as well as some 90s duets with Mal Waldron and a Steve Lacy “songbook” with Hawkins again and Glenn Ferris on trombone (Forgotten Matches. The Worlds Of Steve Lacy (1934 - 2004)). 11. “Bridge Call” (Ken Stubbs). First House, Erendira (1986). Stubbs (alto saxophone), Django Bates (piano), Mick Hutton (bass), Martin France (drums). Lovely composition, IMO. Bates takes the solo honors, sounding just Jarrett-like enough. I fid the little bit of sour savor in Stubbs’ tone appealing, even if his ideas aren’t as strong. 12. “O Desayo” (Clifford Thornton). Clifford Thornton, The Gardens of Harlem (1975). Jack Jeffers (conductor). Solists are Thornton (cornet) and Roland Alexander (tenor sax). Ensemble also features Carla Bley (piano), Bob Stewart (tuba), Charles Stevens & Janice Robinson (trombones), Michael Ridley, Ted Daniel, Hannibal Peterson, and Leo Smith (trumpet and flugelhorn), Gregory Williams and John Thompson (french horns), George Barrow, Pat Patrick, Dewey Redman, and Carlos Ward (woodwinds), Andy Gonzalez (bass), Art Lewis (drums), and Laxmi G. Tewari, Asante Darkwa, Milton Cardona, Gene Golden, Jerry González, A. Kobena Adzenyah, and Vincent Jorge (percussion). Fantastic record that remains strangely overlooked and filed under “hen’s teeth”, especially given how much interest there is now in the New York loft activities of that era. Really, all of the JCOA records are must-haves. 13. “10 Ribs and All/Carrot Pod Pod” (John Paul Jones, Jimmy Page). Led Zeppelin, Presence [outtake] (1976). Jones (piano, bass), Page (guitar), John Bonham (drums). Apparently the chords here are derived from a hym or spiritual — Jones was a church organist early in his career — but I don’t think the songwriters have ever divulged which one. Superb piano playing, and proof that these Viking wannabes (and unrepentant plagiarists) could be tasteful when they wanted to.

We had a tornado watch last night, we were ready to dash down into the root cellar but luckily though we had a brief gust of high wind there was no real tornado and ho harm to any structures around, and no treefalls close. We didn’t even lose power, a blessing. We srue did get rain though, tons of rain. And it’s warm this morning. Moving deeper into this box set, it’s just so full of joyous music and personality. Starting off with disc IV Louis Armstrong - Live Recordings With The All-Stars - Mosaic Records

This is indeed good. https://futuramarge.bandcamp.com/album/aigu-grave

They gave the premiere of 'a' Bartok quartet ...