BFT #75: The Reveal

[tkeith]

Well, happy Father's Day all you MFs! Here is the reveal for Blindfold test #75, with some commentary mixed in. Due to the number of pictures, the reveal will be spread over two posts.

1 - Tim Price - Combat Zone - Passion Sax

This is just a good record. Tim is a survivor and he covers a lot of the spectrum. In general, at times I find his style more influenced by popish genres than I'd prefer, but it doesn't change the fact that this is just a *good* *record*.

Tim Price - tenor sax; Alex Lawrence - trombone; Eddie Green - piano; Arthur Harper - bass; don Scott - drums

2 - Bob Nieske - The Stretch - Simplicity

This is an odd record. Much of it has the feel of being more of a contemporary classical date, but this track just works for me. I got to see Nat with Richard Gardzina (who appears on a later cut) at a place in Nashua, NH, called Michael Timothy's. I couldn't believe *this* guy was playing at *that* bar. It's a tough life being a working Jazz musician.

Phil Grenadier - trumpet; Bob Nieske - bass; Nat Mugavero - drums;

3 - The Onus - The Snake - Tryphony

I knew less than nothing about this when it happened across my desk as a promo copy through the radio station. It sucked me in in one track.

Darryl Harper - clarinet; Matthew Parrish - bass; Butch Reed - drums

4 - Charlie Kohlhase Quintet - Bossa Macabre - Dart Night

Charlie is such a unique writer and his whole approach is unique. Add in Matt Langley for good measure and I'm a happy guy.

Charlie Kohlhase - alto sax; Matt Langley - tenor; John Carlson - trumpet; John Turner - bass; Matt Wilson - drums

5 - Francois Rabbath - Desert (Blindman's Bluff) - Bass Ball

Jonathan Blakeslee lent me this record years back and I digitized it for him. It's a strange and beautiful record, covering much ground with only two players. It's fun to throw this on and try to play with it -- it's surprising how little room is left for a horn. I should note, Jonathan has the U.S. released version entitled "Bass Ball".

Francois Rabbath - bass; Armand Molinetti - drums

6 - Ellery Eskelin - The People's Choice - The Sun Died

Ellery is a more recent discovery for me (the past five years or so), also being introduced to me by Jonathan. I love Ellery's sound and his general approach, which is less about polish and more about gut. He's a unique voice who knows his traditions.

Ellery Eskelin - tenor sax; Marc Ribot - bass; Kenny Wollison - drums

7 - Jeff Coffin & Charlie Peacock - Arc of the Circle - Arc of the Circle

I've known Jeff since I was 12, so I buy anything I see with him on it. This was a pleasant surprise in light of his more commercial output of recent years. This manages to be fresh without trying to break new ground at every turn.

Charlie Peacock - kbds; Jeff Coffin - tenor sax

8 - Jeff Gardzina - First Take - Play This

At separate times, I've studied with both Jeff and Richard, and both were great experiences. Richard's recorded output (much like Jeff's), seems more designed to sell than to present his music. This track is an exception. His tone is so strong and beautiful, and his approach, while out of the Coltrane school, is purely Richard.

Richard Gardzina - tenor sax; Steve Aubert - piano; Roger Kimball - bass; David Berman - drums

9 - Come Shine - Saga of Harrison Crabfeathers - Do Do That Voodoo

I love this tune, and was looking for a vocal version of it. I happened across this one on eMusic and thought they really nailed it.

Maria Roggen - vocals; Erlend Skomsvoll - piano; Sondre Meisfjord - bass; Hakon Mjaset Johansen - drums

10 - Heinz Sauer - Metal Blossoms: B and C Blossoms - Metal Blossoms

When I was about 13, I bought George Adams' Sound Suggestions. Sauer is on that and I didn't dig him at all (because I was SO into George). I heard him as watered down Shepp. I heard a cut of him with Mangelsdorff and recognized him instantly; it was a much more positive reaction. As a result, I check him out on eMusic when he showed up as a new release, and I was hooked. Yes, he's definitely out of the Shepp school, but there's much more to him than just that. This is a prime example.

Heinz Sauer - tenor sax; Bob Degen - piano; Mandred Brundl - bass; Thomas Cremer - drums

Edited June 20, 2010 by Thom Keith

[tkeith]

11 - Rashied Ali - Multi Kulti - Den Haag

I happened upon this [i think private] recording through channels and was blown away. I love Rashied, but I'd never heard him this close to 'inside'. This song is so beautifully lyrical it floored me.

Lawrence Clark - tenor sax; Jumaane Smith - trumpet; Greg Murphy - piano; Joris Teepe - bass; Rashied Ali - drums

12 - Denis Charles - Rise Up - Queen Mary

My introduction to Booker T. was his own album with Andrew Cyrille. I have a simple rule: If Andrew Cyrille is on a record, I buy it. I've yet to be disappointed. When I saw Booker T. on this, I had to give it a chance. At the time, I wasn't that familiar with Denis Charles (I've since rectified that), but Wilber Morris is a guy I've loved since the Murray Octet records. This is a nice record, though Booker T. is perhaps a step below those other two in terms of his proficiency. Still, he has heart, and I love that.

Booker T. - tenor sax; Wilber Morris - bass; Denis Charles - drums; Huss Charles - congas

13 - Chris Humphrey - Anna's Song (Safe In My Arms) - Blue Skies

Chris used to host an open mic in these parts at a Burrito restaurant. They were cool and let us do pretty much whatever we wanted. I remember when Chris went into the studio for this record. He was unsigned and had to finance it all; he'd been saving for quite awhile and was very excited to have gotten Matt Wilson. Awhile afterward, he was signed to a 2-disc deal by Cadence. Sadly, Cadence sat on this release for about two years, providing him little information (and what information there was seemed to always be wrong) about the release date. I kept looking for this and heard a lot of *shit* they released while I was waiting. When this finally came out, I was blown away. But I just don't understand: Bob Rusch, why wait so long for this!?!??!?

Chris Humphrey - vocals; Mark Shilansky - piano; Martin Wind - bass; Matt Wilson - drums

14 - Babatunde Lea - Carolyn's Dance - Soul Pools

I *LOVE* Frank Lacy. I heard this shortly after it was released, and about a year after went to see this band (with Howard Johnson instead of Rivera) live. They were awful. Lacy was great, everybody else was disappointing. Both Hilton and Frank were so stoned they didn't know who or where they were. Hojo's cellphone went of in the middle of the first tune, AND HE TOOK THE CALL!!!! Frank was able to keep it together musically (which he always is), but Ruiz absolutely ruined it. Making matters worse, I'd taken my father, against his better judgment, trying to get him to accept some of the newer music. It was over a 2-hour drive to get to the show, and we walked out in the middle of the first song of the second set with my Dad yelling at Hilton (because he was being an idiot). I felt awful. My father has seen just about anybody you can name between 1958-1980, and I just felt sick that he had to deal with this nonsense. Evidently, after we left, Frank took Hilton away and the band played with just bari, bass and drums. The evening culminated in "a healing version" (according to a friend who was there) of The Creator Has A Master Plan. It really bothers me to see these national acts, in this musical climate, behave this way when they travel all this way to play. As a result of this sort of problem (the next show featured a musician who was arrested for DWI returning to the hotel), the people booking the shows stopped bringing in the out-of-town talent. So they've screwed it up for everybody. It's just sad. ANYWAY, I love Frank's singing on this cut.

Ku-umba Frank Lacy - trombone, vocals; Mario Rivera - tenor sax; Hilton Ruiz - piano; John Benitez - bass; Babatunde Lea - drums; Kevin Jones - percussion

15 - Alex Harding & Blutopia - Spirit Take My Hand - The Calling

This is like the best soul-food dessert I've ever eaten. I just LOVE this guy!!!!

Alex Harding - bari sax; Lucian Ban - piano; Brad Jones - bass; Nasheet Waits - drums; Andrew Daniels - percussion

16 - Dwight Tribe - Papa Lean Griot - Horace

My predecessor as host of the radio show introduced me to Trible through his own studies of Horace Tapscott, the person. This cut really captures the feel of Tapscott, to me.

Dwight Trible - vocal; Kamou Daaoud - spoken word; Charles Owens - tenor/soprano sax; Derf Recklaw Raheem - percussion; Billy Higgins - drums

If you can provide the correct and complete personnel on this, I'm indebted.

17 - William Parker - Corn Meal Dance - Corn Meal Dance

William Parker gets the same respect from me as Andrew Cyrille. I keep waiting for the magic to run out (it began with Raincoat In The River and Raining On The Moon), but this record shows that's not going to happen any time soon. This is just beauty in its purist form. Seeing this band remains one of the high points of my life. After the show, Flip Barnes had his son with him, and the band hung out and jammed with anyone that wanted to play. I got to play with Hamid Drake about 6" off my left elbow, and that's an amazing experience. It may have been my worst day playing ever, but that didn't hurt the magic of the moment for me. Flip Barnes had pictures and sent them to me; he's an A-1 human being and I'm grateful that I had that experience.

Leena Conquest - vocal; Rob Brown - alto sax; Lewis "Flip" Barnes - trumpet; Eri Yaramoto - piano; William Parker - bass; Hamid Drake - drums

18 - Heinz Sauer & Michael Wollner - Nothing Compares 2 U - Certain Beauty

This was the cut that got me back into Heinz Sauer. I never liked Sinead O'Connor's version of this (and always wanted to hear Prince's version), but Heinz really captures whatever magic there was in Sinead's voice in his interpretation, and to some extent fills my need to hear Prince's interpretation in the process. I love this.

Heinz Sauer - tenor sax; Michael Wollner - keyboards

Edited June 20, 2010 by Thom Keith

[Bright Moments]

thanks for your hard work!

[JSngry]

#14 - Mario Rivera, no wonder. That cat could PLAY!

[jeffcrom]

Very interesting BFT! I was glad to know who everyone was, even on the tracks I wasn't crazy about. Once again, I missed an ID on a track I have - I've got the Charlie Kohlhase CD, but I haven't listened to it for awhile.

[Hot Ptah]

No wonder I could not identify anyone. Thanks for a fascinating BFT, which I play in my car for pleasure. I will now have the Reveal on my front seat and refer to it as I listen. I really enjoy this collection of music.

[tkeith]

Glad y'all dug it. Jim, Mario certainly COULD play. Got to see him with Tito once... WOW!

Jeff, that disc creeps up on you. I get the pleasure of hearing Matt pretty frequently, he lives right in town. The guy is a mad man with a horn; good dude, too.

Bill, glad it's working for you; that's a huge compliment.

[Hot Ptah]

Glad y'all dug it. Jim, Mario certainly COULD play. Got to see him with Tito once... WOW!

Jeff, that disc creeps up on you. I get the pleasure of hearing Matt pretty frequently, he lives right in town. The guy is a mad man with a horn; good dude, too.

Bill, glad it's working for you; that's a huge compliment.

I saw Mario Rivera with the Brian Lynch/Conrad Herwig Latin jazz band, and he was incredible. A few years later, I saw the same group without Mario, and it was not nearly as interesting a group without him.

Edited June 21, 2010 by Hot Ptah

[Guest Bill Barton]

Great selection of music, Thom! Some ear-openers for sure, even the one I didn't like at all (#14). Sorry that time didn't allow me to flesh out my initial comments.

Funny, after all these years of listening to this music my ability to recognize and identify players seems to have reached something of a null point. Odd in a way, but then again I've heard so much more music in just the last five years. Back in - say - the 1970s or 1980s I could always identify players when friends pulled the informal BFT on me.

These tests are great fun, but I've pretty much given up on correctly identifying anybody!

Can't believe that I thought Ellery Eskelin was Charles Lloyd! Ouch! Clifford Jordan woulda been closer...

Edited June 22, 2010 by Bill Barton