BFT74 - the answers

[The Magnificent Goldberg]

This BFT focuses on sounds, more than music. Sound has always been a lot more important to me than the actual notes.

1 Mercy, mercy, mercy – Maceo Parker & the Rebirth Brass Band – from “Southern exposure” by Maceo Parker – Minor Music MM801033. Recorded 1993, New Orleans.

Maceo Parker (as), Kermit Ruffins & Derrick Shezbie (tp), Philip Frazier (tuba), Stafford Agee & Reginald Steward (tb), Roderick Paulin (ts), Ajay Mallory (snare dm), Keith Frazier (bass dm). Produced by Stephan Meyner & Maceo Parker.

Every time I hear this, I think that I’d better get some albums of the Rebirth Brass Band; but so far I haven’t.

2 Delilah – Blue Mitchell – from “Funktion junction” RCA APL1-1493. Recorded 17 Feb 1976, Hollywood.

Blue Mitchell, Jon Faddis, John Gatchell (tp,flhrn), Wayne Andre (tb), Alan Raph (b-tb), George Young (ts,fl), Harold Land (ts), Clarence McDonald (p), David T. Walker, Mike Anthony (g), Ron Brown (b), Jimmy Gadson (d), Gary Coleman (perc), Mike Lipskin (synt, perc). Produced by Mike Lipskin.

“Funktion junction” is one of Blue’s mid-seventies disco albums. It’s not bad, but only two tracks – this and a nice version of Duke’s “Day dream” – are really stand outs. You might well be put off by the seventies echo on the solos; I accept it as what was going on in those days. Oh well.

3 Summertime – Jimmy Smith – from “Jimmy Smith at the organ vol 1” – Blue Note BLP1551. Recorded 2 Feb 1957, NYC.

Lou Donaldson (as), Jimmy Smith (org). Produced by Alfred Lion.

I put this in because it’s so extremely beautiful. I was sure that everyone would guess it. Some stuff is in here just for your pleasure (and mine).

4 Ain’t misbehavin’ – Al Casey – from “Buck Jumpin’ – Swingville SV2007 (OJCCD675). Recorded 7 March 1960, Van Gelder’s.

Al Casey (g), Rudy Powell (cl), Herman Foster (p), Jimmy Lewis (b), Belton Evans (d). Produced by Esmond Edwards.

This was the King Curtis band of the time, with Powell instead of Curtis. Powell and Casey had, of course, worked with Fats Waller in the thirties.

5 Baby, won’t you please come home – Hank Crawford – from “Dig these blues” – Atlantic 1436 (32 Jazz 32054). Recorded 11 Feb 1965, New York.

Hank Crawford (as), Marcus Belgrave & Jimmy Owens (tp), Abdul Baari (ts) Howard Johnson (bari), Charles “Flip” Green (b), Milt Turner (d). Produced by Nesuhi Ertegun & Arif Mardin.

This cut is one of my all time favourites. I love Hank’s arrangement of the horns.

6 Because of you – Tab Smith – United 104 – taken from “Jump time” Delmark 447. Recorded 28 Aug 1951, Chicago.

Sonny Cohn (tp), Tab Smith (as), Leon Washington (ts), Teddy Brannon (p), Wilfred Middlebrooks (b), Walter Johnson (d). Produced by Lew Simpkins.

This was a big hit in 1951 - #1 on the R&B chart. Apparently it sold 250,000. One of the things that always strikes me about this (and a good few other of Tab’s recordings from this period) is the impact he had on Hank Crawford, particularly as regards the arrangements. Hank’s basic alto style seems to owe a lot more to Charlie Parker than to Tab, but there is that big sound they both have.

7 Green onions – Kankawa – from BIII – JVC VICP239 (VICP80053). Recorded Dec 1995 – Jan 1996, New York.

Kankawa (org), Lew Soloff (tp, solo), Jon Faddis (tp),Chris Hunter & Lou Marini (saxes), Ronnie Cuber (bari), Jon Vanhala (tb), Howard Johnson (tuba), Anthony Jackson (b), Lenny White (d). Produced by Pete Levin.

Kankawa’s full name is Toshihiko Kankawa. He also performs as Kankawa122. Unlike most of the musicians I like, he is really into Rock music. It doesn't say who the guitarist is.

8 Moonlight serenade – Jimmy McGriff – from “Movin’ upside the blues” – JAM 005. Recorded 24 Jun 1981, Van Gelder’s.

Jimmy McGriff (org), Arnold Sterling (as), Jimmy Ponder (g), Vance James (d). Produced by Bob Porter.

I wish someone would reissue JAM material. Arnold Sterling really shines on this cut. I believe he is still working around the Baltimore/DC area.

9 Floyd’s guitar blues – Andy Kirk’s Twelve Clouds of Joy – Decca 2483 – taken from “Juke box hits: 1936-1949” Acrobat ACMCD 4077. Recorded 16 Mar 1939.

Harry Lawson, Clarence Trice & Earl Thompson (tp), Ted Donnelly & Henry Wells (tb), John Harrington (cl,as,bari), Earl Miller (as), Don Byas & Dick Wilson (ts), Mary Lou Williams (p, arr), Floyd Smith (g,el-g), Booker Collins (b), Ben Thigpen (d), Andy Kirk (dir).

What can you say? Floyd is one of the pioneers of the electric guitar. What a SOUND!

Part 2 follows...

MG

[The Magnificent Goldberg]

Part 2

10 Segala – Gangbé Brass Band – from “Whendo” Contre-Jour CJ015. Recorded 2003.

Magloire Ahouandjinou, Athanase Dehoumon, Sam Gnonlonfoun & Mathieu Gnonlonfoun (tp), Martial Ahouandjinou (tb), James Vodounnon (euphonium), Lucien Gbaguidi (sax), Benoit Avihoue, Jean Gnonlonfoun & Crespin Kpitiki (perc). Produced by Genevieve Bruyndonckx.

This is a young band, from Benin. Most of the players learned their instruments in military bands and, after leaving, got together to try to incorporate military band music into Highlife. This is pretty funny, because Highlife began as an amalgamation of the Gombeh rhythm, that had been developed in the nineteenth century in Sierra Leone and spread to Nigeria and Ghana (Gold Coast) by the western-educated elite who had attended the teacher training college in Sierra Leone, with military band music! Later, dance music and swing were incorporated, then Bebop, R&B, Soul, Funk and Rock, and lately Hip Hop. But whatever additions and borrowings come in, Highlife still is Highlife.

I only got this album a few weeks ago, but this track just BEGGED to be included in this BFT. The band’s latest album, “Assiko” (also Contre-Jour), done in 2008, is slightly different to this, featuring the sharpest riffing I’ve heard from any band since Kool & the Gang’s early recordings in the late sixties. (Roswell Rudd, by the way, makes a guest appearance on one track of it.) “Whendo”, generally, is much mellower – this track is pretty typical of the other material on it.

I hardly need to say that the tune is “Night train”. The initial trumpet solo quotes Jimmy Forrest’s solo on his original version. It’s still a train song. There’s a translation in the sleeve notes.

“Oh your majesty we are coming to sing our victory over the nations you asked us to conquer. Abeokuta is the only town that remains to be conquered so that we can tell you that our mission has been accomplished.”

This song relates to the war between the then expanding Fon empire of Dahomey and the Yoruba empire of Oyo. However, the song was premature, because Abeokuta was stoutly defended in 1830 (before there were trains) and did not fall to the Dahomans; this marked the beginning of Abeokuta’s emergence as a powerful state within the Yoruba empire.

11 10-10 special – Zacks Nkosi – from “Tribute to Zacks Nkosi - Gallo (orig issue not known) (Gallo CDZAC55). Recorded 1975.

Zacks Nkosi (ts), Barney Rachabane (as, fl), Themba Mehlomakhulu (tp), Jabu Nkosi (kbds), Enoch Mthalani (g), Glen Mafoko & Sipho Gumede (b), Peter Morake (d), Jerry Mtabatsindi (hca). Produced by Hamilton Nzimande.

Zacks was one of the giants of South African jazz. He was born in 1918 and worked in big bands from the early forties. He worked mainly in the townships around Johannesburg, rather than in the more outgoing scene of Cape Town. He is alleged, by Lulu Masilela, to be the real composer of Abdullah Ibrahim’s “Mannenberg”.

This album was conceived as a revival of many of his tunes, which had become jazz standards in South Africa. Zacks died in 1981 after several years of ill health.

Another train song. A slow train (they’re all slow in Africa). With a harmonica player hanging off the last coach.

12 Maiden voyage – Odell Brown & the Organisers – from “Raising the roof” – Cadet 775. Recorded 25 Jul 1966, Ter Mar, Chicago.

Odell Brown (org), Artee Duke Payne ® & Thomas Purvis (L) (ts), Curtis Prince (d). Produced by Esmond Edwards.

Not a train song.

I’ve always thought this was the REAL way to play this lovely tune; with the tenor players sailing over a swelling waves laid down by the organist, pushed by the drummer.

13 I found new baby – McKinney’s Cotton Pickers – Victor V30861 – taken from “Put it there” Frog DGF25. Recorded 8 April 1929, Camden NJ.

John Nesbitt (tp – solo & obb, arr), Langston Curl (tp), Claude Jones (tb), Don Redman (cl,as), Jimmy Dudley (cl,as), George Thomas (cl,ts), Prince Robinson (ts - solo), Todd Rhodes (p), Dave Wilborn (bj,vcl), Ralph Escudero (tu), Cuba Austin (d).

To me, this is early greeeeaaaaazzzze. That riff that John Nesbitt came up with is so groovy! And played with such slack hipness. And the solos are just moving from a pretty square, vertical, kind of swing to something much looser and really phrased. And like Hank Crawford and Kankawa, Nesbitt wrote a little solo for the band!

14 Chili Mac – Preston Love – from “Omaha Bar-B-Q” – Kent 540. Recorded 1968, LA.

Preston Love (as,fl), Jackie Kelso (as), Ed Pazant (ts,fl), Clifford Solomon, Wallace Brodis, Joe Epps (ts), Bill Carter (bar), Johnny Otis (vib), Shuggie Otis (g,el-b), Ronald Selico (d). Produced by Johnny Otis.

I love the groove on this one, too.

15 Kobogui – Le Palm-Jazz de Macenta – from “Les Palmes du Succes – Syliphone SLP73. Recorded 1980, Conakry, Guinea.

Personnel unknown. I don’t have the sleeve for this one, so all I can say is that this was one of the Guinean regional orchestras; think of them as Guinean Black Territory Bands. Macenta is in the far south of Guinea, just outside the area of the Mandinka and in that of the Toma, a people who apparently still cling to their traditional religion and other traditions. This music is very different from that of the Mandinke big bands.

The band only made one LP. The sound they got runs through this album, but this seems to be the track in which that sound is most concentrated.

Bonus tracks

B1 Root man blues – Buddy Johnson – Decca 27998 – taken from “Chronological 1950-51” Classics 1244. Recorded 20 Dec 1951.

Frank Royal, Andrew Wood, Willis Nelson, Calvin Strickland (tp) Julius Watson, Leon Comegys, Steve Pulliam (tb) Joe O'Laughlin (as) Harold "Geezil" Minerve (as,vcl) David Van Dyke, Purvis Henson (ts) Teddy "Cherokee" Conyers (bar) Buddy Johnson (p,vcl) Chauncey “Lord” Westbrook (g) Leon Spann (b) Philip Paul (d)

Ellington aficionados will know that Harold "Geezil" Minerve, who takes the vocal and alto solo here, replaced Johnny Hodges in the Ellington band after Johnny’s death. He was born in Cuba, brought up in Miami.

The man’s a killer!

Oh, and Buddy Johnson’s blues piano playing is wonderful. A much underrated pianist, is Buddy.

B2 If I can’t sell it, I’ll keep sittin’ on it – Ruth Brown - from “Blues on Broadway” - Fantasy FCD9662. Recorded 12-13 Jun 1989, NYC.

Ruth Brown (vcl), Spanky Davis (tp), Hank Crawford (as), Red Holloway (ts), Britt Woodman (tb), Bobby Forrester (pno, org), Rodney Jones (g), Al McKibbon (b), Grady Tate (g). Produced by Ralph Jungheim.

This is an old Fats Waller tune. But it seems to be made for a female singer. I LURVE Britt Woodman’s playing in this.

B3 Didn’t we – Irene Reid – from “Million $ secret” – Savant 2007. Recorded 13 Feb 1997, Rutherford, NJ.

Irene Reid (vcl), Charles Earland (org), James Rotundi (tp), Eric Alexander (ts), Bob DeVos (g), Greg Rockingham (d). Produced by Charles Earland.

I love Irene’s singing. She’s by no means the greatest singer, but she seems to me to express the essence of Soul Jazz. And, as with the Ruth Brown track, Bob DeVos and Eric Alexander back her up superbly.

She had recorded this song before; in the early seventies, with Horace Ott arrangements. It, too, featured a long lead in rap, very different, more personal. But I like this one better, because of the extra experience it denotes and the backing is perfect. But here that one is, on you-tube.

http://www.youtube.com/watch?v=6Ozv23srXdk

B4 Moments like this – Teddy Wilson – Brunswick 8112 – taken from “Moments like this” – Hep CD1043. Recorded 23 Mar 1938.

Teddy Wilson (p), Bobby Hackett (cnt), Pee Wee Russell (cl), Tab Smith (as), Gene Sedric (ts), Allen Reuss (g), Al Hall (b), Johnny Blowers (d), Nan Wynn (vcl).

More Tab Smith I love the way Nan Wynn sings; she has the elegance of Lou Donaldson. This is not soul-rending stuff, like the tracks Billie recorded with Teddy – some of which are almost too painful to listen to. But it’s beautiful music none the less.

And here’s a photo of Nan a decade later – 1949 (especially for Evan ).

MG

[Hot Ptah]

O.K., now I have a serious shopping list. I love this BFT, and now that I see the answers, I am rushing out to the nearest well stocked record store....oh wait....

It is especially good to get the information about the African albums, as I would not have a clue about how to begin to identify them.

That is amazing that the vocal on Bonus Track #1 is by Harold "Geezil" Minerve.

Harold "Geezil" Minerve is well known to me because the first time (of several) that I took Richard Davis' jazz history class at the University of Wisconsin, Harold's girlfriend, Jerri, was in the class and sat near us in the lecture hall. She told us many stories about traveling with the Ellington band while Harold was in it in the early 1970s, stories of the type that do not get into articles and books. She was a nice person, and drove us to a Dizzy Gillespie performance at the Jazz Showcase in Chicago in May, 1978--which was the only time I ever saw Dizzy live when he was really on fire for the entire evening. Dizzy came up to our table and told Jerri that he had Harold's pipe, because Harold had left it behind the last time they played chess.

Getting back to the BFT, this is one I continue to play in the car for sheer pleasure.

[paul secor]

MG - Didn't participate in this BT, but I do have Le Palm-Jazz de Macenta LP. Unfortunately, no personnel is given. The liner notes, by Justin Morel Junior, are in French and very brief and perfunctory. The engineer was Moussa Konate. That's about it.

edit: Have to say that "Kobogui" sounds like an anomaly in the context of the other music on the LP.

Edited April 29, 2010 by paul secor

[Dan Gould]

I used the Odell Brown & The Organ-izers track on my second go-round as compiler. I remember Sangrey writing something like "two tenors, organ ... Odel Brown?" and I went

:excited: :excited:

:angry: :angry:

Has this happened before?

Anyway, MG, I am sorry I never got a chance to participate, I am sure I'd have gotten a few.

And I'd have probably missed the Odell Brown track while dissing the performance.

[jeffcrom]

Very enjoyable BFT, MG. I'm kicking myself over a couple of these - you've got a pretty good idea about which ones.

[JSngry]

I recently "found" both of those Blue Mitchell RCAs - the internet's your friend, ya'know - and I enjoy them both. Sometimes the material is, uh...."weak", but the shit always is in the pocket in a very nice, mellow, Blue Mitchell-y kind of way. And Harol Land doesn't compromise his concept one iota. So you got these grooves going on and Harold is all chromatic & pentatonic with that idyosyncratic pitch and tome of his, and I'm all like, hey, that was when producers were content leaving well enough alone & letting everybody get some kind of win out of the deal.

Many people have made far worse records trying to do the same thing. Or even worse, trying to to the same thing without understanding what that "thing" is - and could be.

[Bright Moments]

Part 2

10 Segala – Gangbé Brass Band – from “Whendo” Contre-Jour CJ015. Recorded 2003.

Magloire Ahouandjinou, Athanase Dehoumon, Sam Gnonlonfoun & Mathieu Gnonlonfoun (tp), Martial Ahouandjinou (tb), James Vodounnon (euphonium), Lucien Gbaguidi (sax), Benoit Avihoue, Jean Gnonlonfoun & Crespin Kpitiki (perc). Produced by Genevieve Bruyndonckx.

This is a young band, from Benin. Most of the players learned their instruments in military bands and, after leaving, got together to try to incorporate military band music into Highlife. This is pretty funny, because Highlife began as an amalgamation of the Gombeh rhythm, that had been developed in the nineteenth century in Sierra Leone and spread to Nigeria and Ghana (Gold Coast) by the western-educated elite who had attended the teacher training college in Sierra Leone, with military band music! Later, dance music and swing were incorporated, then Bebop, R&B, Soul, Funk and Rock, and lately Hip Hop. But whatever additions and borrowings come in, Highlife still is Highlife.

I only got this album a few weeks ago, but this track just BEGGED to be included in this BFT. The band’s latest album, “Assiko” (also Contre-Jour), done in 2008, is slightly different to this, featuring the sharpest riffing I’ve heard from any band since Kool & the Gang’s early recordings in the late sixties. (Roswell Rudd, by the way, makes a guest appearance on one track of it.) “Whendo”, generally, is much mellower – this track is pretty typical of the other material on it.

I hardly need to say that the tune is “Night train”. The initial trumpet solo quotes Jimmy Forrest’s solo on his original version. It’s still a train song. There’s a translation in the sleeve notes.

“Oh your majesty we are coming to sing our victory over the nations you asked us to conquer. Abeokuta is the only town that remains to be conquered so that we can tell you that our mission has been accomplished.”

This song relates to the war between the then expanding Fon empire of Dahomey and the Yoruba empire of Oyo. However, the song was premature, because Abeokuta was stoutly defended in 1830 (before there were trains) and did not fall to the Dahomans; this marked the beginning of Abeokuta’s emergence as a powerful state within the Yoruba empire.

11 10-10 special – Zacks Nkosi – from “Tribute to Zacks Nkosi - Gallo (orig issue not known) (Gallo CDZAC55). Recorded 1975.

Zacks Nkosi (ts), Barney Rachabane (as, fl), Themba Mehlomakhulu (tp), Jabu Nkosi (kbds), Enoch Mthalani (g), Glen Mafoko & Sipho Gumede (b), Peter Morake (d), Jerry Mtabatsindi (hca). Produced by Hamilton Nzimande.

Zacks was one of the giants of South African jazz. He was born in 1918 and worked in big bands from the early forties. He worked mainly in the townships around Johannesburg, rather than in the more outgoing scene of Cape Town. He is alleged, by Lulu Masilela, to be the real composer of Abdullah Ibrahim’s “Mannenberg”.

This album was conceived as a revival of many of his tunes, which had become jazz standards in South Africa. Zacks died in 1981 after several years of ill health.

Another train song. A slow train (they’re all slow in Africa). With a harmonica player hanging off the last coach.

12 Maiden voyage – Odell Brown & the Organisers – from “Raising the roof” – Cadet 775. Recorded 25 Jul 1966, Ter Mar, Chicago.

Odell Brown (org), Artee Duke Payne ® & Thomas Purvis (L) (ts), Curtis Prince (d). Produced by Esmond Edwards.

Not a train song.

I’ve always thought this was the REAL way to play this lovely tune; with the tenor players sailing over a swelling waves laid down by the organist, pushed by the drummer.

13 I found new baby – McKinney’s Cotton Pickers – Victor V30861 – taken from “Put it there” Frog DGF25. Recorded 8 April 1929, Camden NJ.

John Nesbitt (tp – solo & obb, arr), Langston Curl (tp), Claude Jones (tb), Don Redman (cl,as), Jimmy Dudley (cl,as), George Thomas (cl,ts), Prince Robinson (ts - solo), Todd Rhodes (p), Dave Wilborn (bj,vcl), Ralph Escudero (tu), Cuba Austin (d).

To me, this is early greeeeaaaaazzzze. That riff that John Nesbitt came up with is so groovy! And played with such slack hipness. And the solos are just moving from a pretty square, vertical, kind of swing to something much looser and really phrased. And like Hank Crawford and Kankawa, Nesbitt wrote a little solo for the band!

14 Chili Mac – Preston Love – from “Omaha Bar-B-Q” – Kent 540. Recorded 1968, LA.

Preston Love (as,fl), Jackie Kelso (as), Ed Pazant (ts,fl), Clifford Solomon, Wallace Brodis, Joe Epps (ts), Bill Carter (bar), Johnny Otis (vib), Shuggie Otis (g,el-b), Ronald Selico (d). Produced by Johnny Otis.

I love the groove on this one, too.

15 Kobogui – Le Palm-Jazz de Macenta – from “Les Palmes du Succes – Syliphone SLP73. Recorded 1980, Conakry, Guinea.

Personnel unknown. I don’t have the sleeve for this one, so all I can say is that this was one of the Guinean regional orchestras; think of them as Guinean Black Territory Bands. Macenta is in the far south of Guinea, just outside the area of the Mandinka and in that of the Toma, a people who apparently still cling to their traditional religion and other traditions. This music is very different from that of the Mandinke big bands.

The band only made one LP. The sound they got runs through this album, but this seems to be the track in which that sound is most concentrated.

Bonus tracks

B1 Root man blues – Buddy Johnson – Decca 27998 – taken from “Chronological 1950-51” Classics 1244. Recorded 20 Dec 1951.

Frank Royal, Andrew Wood, Willis Nelson, Calvin Strickland (tp) Julius Watson, Leon Comegys, Steve Pulliam (tb) Joe O'Laughlin (as) Harold "Geezil" Minerve (as,vcl) David Van Dyke, Purvis Henson (ts) Teddy "Cherokee" Conyers (bar) Buddy Johnson (p,vcl) Chauncey “Lord” Westbrook (g) Leon Spann (b) Philip Paul (d)

Ellington aficionados will know that Harold "Geezil" Minerve, who takes the vocal and alto solo here, replaced Johnny Hodges in the Ellington band after Johnny’s death. He was born in Cuba, brought up in Miami.

The man’s a killer!

Oh, and Buddy Johnson’s blues piano playing is wonderful. A much underrated pianist, is Buddy.

B2 If I can’t sell it, I’ll keep sittin’ on it – Ruth Brown - from “Blues on Broadway” - Fantasy FCD9662. Recorded 12-13 Jun 1989, NYC.

Ruth Brown (vcl), Spanky Davis (tp), Hank Crawford (as), Red Holloway (ts), Britt Woodman (tb), Bobby Forrester (pno, org), Rodney Jones (g), Al McKibbon (b), Grady Tate (g). Produced by Ralph Jungheim.

This is an old Fats Waller tune. But it seems to be made for a female singer. I LURVE Britt Woodman’s playing in this.

B3 Didn’t we – Irene Reid – from “Million $ secret” – Savant 2007. Recorded 13 Feb 1997, Rutherford, NJ.

Irene Reid (vcl), Charles Earland (org), James Rotundi (tp), Eric Alexander (ts), Bob DeVos (g), Greg Rockingham (d). Produced by Charles Earland.

I love Irene’s singing. She’s by no means the greatest singer, but she seems to me to express the essence of Soul Jazz. And, as with the Ruth Brown track, Bob DeVos and Eric Alexander back her up superbly.

She had recorded this song before; in the early seventies, with Horace Ott arrangements. It, too, featured a long lead in rap, very different, more personal. But I like this one better, because of the extra experience it denotes and the backing is perfect. But here that one is, on you-tube.

http://www.youtube.com/watch?v=6Ozv23srXdk

B4 Moments like this – Teddy Wilson – Brunswick 8112 – taken from “Moments like this” – Hep CD1043. Recorded 23 Mar 1938.

Teddy Wilson (p), Bobby Hackett (cnt), Pee Wee Russell (cl), Tab Smith (as), Gene Sedric (ts), Allen Reuss (g), Al Hall (b), Johnny Blowers (d), Nan Wynn (vcl).

More Tab Smith I love the way Nan Wynn sings; she has the elegance of Lou Donaldson. This is not soul-rending stuff, like the tracks Billie recorded with Teddy – some of which are almost too painful to listen to. But it’s beautiful music none the less.

And here’s a photo of Nan a decade later – 1949 (especially for Evan ).

MG

I FINALLY got around to spinning this BFT and thoroughly enjoyed it!!!!

and that nan wynn! thanks for thinking of me!!!