BFT #86 Discussion

[NIS]

Might not be any comments just yet but I will start the thread now anyway. I am certainly looking forward to your thoughts and will try to respond timely.

Thanks for your interest.

[Hot Ptah]

#12 is Ry Cooder's version of Blind Blake's "Diddy Wah Diddy", from his 1974 "Paradise and Lunch" album. Ry Cooder plays guitar and sings. Earl Hines is the pianist.

[NIS]

#12 is Ry Cooder's version of Blind Blake's "Diddy Wah Diddy", from his 1974 "Paradise and Lunch" album. Ry Cooder plays guitar and sings. Earl Hines is the pianist.

One for one on the ID front.

Not a jazz album (there is Earl Hines on this song) but I thought this was a fun track to include. And Ry Cooder can play the guitar.

[Alexander Hawkins]

Thanks for a great selection of tracks! Really enjoyed listening through these. Here's comments on the first few; more later!

1. OK, so I know this one for sure…having jumped in early on this test, I won’t spoil the fun.

2. I liked this! Really interesting rhythmic stuff going on. I like how at the start, it’s hard to tell whether it’s composed or improvised, or (most likely) the respective measures in which it’s both! It has a really nice balance for me between playful imprecision and complete precision – not unlike how I hear Monk (imprecision would be the wrong word in his case, but you know what I mean)…something about this is telling me ‘Dutch’, but I’m not totally sure. First thought – a group based around Braam-de Joode-Vatcher? The really sophisticated rhythmic stuff, plus the real control with the inside-piano extended techniques (listen to the harmonics around 4’10”ff.) put me in mind of Denman Maroney too…

3. I enjoyed this a lot too. Put me in mind of Walt Dickerson – some of the articulation towards the end in particular; could this be the duo with Richard Davis? I like the pacing a great deal – a really beautifully poised performance.

4. Fantastic – I love the feel, especially where the drummer moves to the ride cymbal. Great tempo too. Some interesting stuff in the bass, e.g. where he doubles up tempo v v briefly at 2’00”. No idea what it is. I suspect the rest of the album is not in this vein? Something about it makes me think that the players have a larger language, of which this is only part.

5. Ok, so this one made me think Dutch too…the way they play the time, plus the SA groove…and the horns at the start there. Sounds like that could be Ernst Reijsiger or Tristan Honsinger (check out Ernst on Charles Clark’s ‘Letter to South Africa’ to hear him – and Tchicai – KILL in the SA context)…in which case that could be Mary Oliver playing viola – or is it another ‘cello? The drummer has checked out Han Bennink…I don’t think it is Han (a little bit well-behaved, even at the end?!?), but if it is Mary/Tristan/Ernst etc., it could be ICP, in which case Han would figure. Who knows…anyway, love it. It really grooves, and the voicings are beautiful. S0 – to sum up – I think we’re in Holland, but don’t know who it is. Walter Wierbos on trombone? Actually, maybe it is Han…Ab Baars on clarinet?

6. I like this a great deal, but am not sure who it is. The tuning of the kit makes me think a little of Oxley, but I don’t think it’s him…likewise, it could be Lytton (and the bass plus electronics could be Barry Guy, which strengthens that thought), but I don’t think it’s them either (plus there’s clearly some composed material, and I would think of both Guy/Lytton and Oxo in the context of free improvisation, although I’m well aware that they are on plenty of records with writing on – indeed, altogether, in the case fo the LJCO etc!)…anyway, that’s a digression. I’m stumped, but am really interested to hear who/what this is. There are several familiar elements to the playing, but I can’t place it just now. I’m finding it hard to place geographically too. There’s a very strong European influence in there, especially the drummer…but there’s also plenty to make me think it might be from your side of the water too…hmmm. Great track.

7. The tune is 'Buddy Bolden's Blues'. And that's a trumpet player with some sound too...like the bass player too. It's *almost* a bit arch for me; unlike Air, for example, who totally get inside this tune, and do something new to it, this slightly for me feels like two guys saying 'let's play a New Orleans-y thing'. BUT - don't get me wrong, I do enjoy it! Curious as to who it is.

[mikeweil]

Track 8 I recognized after two notes: The title track from this underground classic album, whch I adored immediately after release and still do.

[Alexander Hawkins]

8. Must be honest - this is the first track which hasn't really done it for me. I enjoy the keyboard solo (although I don't too much like his use of electronics, or his comping), but it's a bit 'ambient' to my ears in general...don't feel too much direction in there. I also, however, feel like this is a track where I'm going to be told who it is, and then think 'oh, I really like those players'. That'll learn me. But...sort of a Strata-East-y type thing gets going during the e-piano solo, and I really like the drummer's feel in this passage particularly. And I like the bass player, keeping it a bit 'rough' with his tone...but on the whole, not sure about this one...

Edit, having read Mike's answer: Hmmm...I knew I'd have one of those 'but I like those players!' reactions to this one...the beauty of a blindfold test! Maybe I was in the wrong mood!

9. I have no idea; must admit, I didn't really enjoy it at all. I honestly have no clue, so might as well go and embarass myself by guessing someone with whose work I'm completely unfamiliar - could this be the recent Larry Coryell plus tabla project?

Edited May 2, 2011 by Alexander Hawkins

[NIS]

Thanks for a great selection of tracks! Really enjoyed listening through these. Here's comments on the first few; more later!

I am very happy you have enjoyed listening. I know you are a musician and "hear" things some of us (meaning me) don't but most of your comments are really spot on.

1. OK, so I know this one for sure…having jumped in early on this test, I wont spoil the fun.

Hopefully you will have some comments.

2. I liked this! Really interesting rhythmic stuff going on. I like how at the start, its hard to tell whether its composed or improvised, or (most likely) the respective measures in which its both! It has a really nice balance for me between playful imprecision and complete precision not unlike how I hear Monk (imprecision would be the wrong word in his case, but you know what I mean)…something about this is telling me Dutch, but Im not totally sure. First thought a group based around Braam-de Joode-Vatcher? The really sophisticated rhythmic stuff, plus the real control with the inside-piano extended techniques (listen to the harmonics around 410ff.) put me in mind of Denman Maroney too…

Not Dutch, that as you have noted is later. It is Denman Maroney. To me, he has a really unique sound.

3. I enjoyed this a lot too. Put me in mind of Walt Dickerson some of the articulation towards the end in particular; could this be the duo with Richard Davis? I like the pacing a great deal a really beautifully poised performance.

Again, to me, nobody plays the vibe like Walt Dickerson. I had to include something by him. Having the terrific Richard Davis, too is just icing on the cake.

4. Fantastic I love the feel, especially where the drummer moves to the ride cymbal. Great tempo too. Some interesting stuff in the bass, e.g. where he doubles up tempo v v briefly at 200. No idea what it is. I suspect the rest of the album is not in this vein? Something about it makes me think that the players have a larger language, of which this is only part.

I would have to say that this is probably the "prettiest" piece on the album.

5. Ok, so this one made me think Dutch too…the way they play the time, plus the SA groove…and the horns at the start there. Sounds like that could be Ernst Reijsiger or Tristan Honsinger (check out Ernst on Charles Clarks Letter to South Africa to hear him and Tchicai KILL in the SA context)…in which case that could be Mary Oliver playing viola or is it another cello? The drummer has checked out Han Bennink…I dont think it is Han (a little bit well-behaved, even at the end?!?), but if it is Mary/Tristan/Ernst etc., it could be ICP, in which case Han would figure. Who knows…anyway, love it. It really grooves, and the voicings are beautiful. S0 to sum up I think were in Holland, but dont know who it is. Walter Wierbos on trombone? Actually, maybe it is Han…Ab Baars on clarinet?

It isn't the Instant Composers Pool but there are quite a number of current or past ICPers present. As mentioned Reijseger, Honsinger, Wierbos, Bennink among them. Bennink does tend to be a little less outgoing on this album. The South African comment is pretty astute.

6. I like this a great deal, but am not sure who it is. The tuning of the kit makes me think a little of Oxley, but I dont think its him…likewise, it could be Lytton (and the bass plus electronics could be Barry Guy, which strengthens that thought), but I dont think its them either (plus theres clearly some composed material, and I would think of both Guy/Lytton and Oxo in the context of free improvisation, although Im well aware that they are on plenty of records with writing on indeed, altogether, in the case fo the LJCO etc!)…anyway, thats a digression. Im stumped, but am really interested to hear who/what this is. There are several familiar elements to the playing, but I cant place it just now. Im finding it hard to place geographically too. Theres a very strong European influence in there, especially the drummer…but theres also plenty to make me think it might be from your side of the water too…hmmm. Great track.

Not anyone you mentioned but European based. I'm going stay away from further comment at this time.

7. The tune is 'Buddy Bolden's Blues'. And that's a trumpet player with some sound too...like the bass player too. It's *almost* a bit arch for me; unlike Air, for example, who totally get inside this tune, and do something new to it, this slightly for me feels like two guys saying 'let's play a New Orleans-y thing'. BUT - don't get me wrong, I do enjoy it! Curious as to who it is.

This is the most concise piece on the album. They stay in touch with the tune on the rest but stretch out a little more.

Edited May 2, 2011 by NIS

[NIS]

Track 8 I recognized after two notes: The title track from this underground classic album, whch I adored immediately after release and still do.

Like you I've had this since first released. Probably my most played album over the years. Still works for me too.

8. Must be honest - this is the first track which hasn't really done it for me. I enjoy the keyboard solo (although I don't too much like his use of electronics, or his comping), but it's a bit 'ambient' to my ears in general...don't feel too much direction in there. I also, however, feel like this is a track where I'm going to be told who it is, and then think 'oh, I really like those players'. That'll learn me. But...sort of a Strata-East-y type thing gets going during the e-piano solo, and I really like the drummer's feel in this passage particularly. And I like the bass player, keeping it a bit 'rough' with his tone...but on the whole, not sure about this one...

Edit, having read Mike's answer: Hmmm...I knew I'd have one of those 'but I like those players!' reactions to this one...the beauty of a blindfold test! Maybe I was in the wrong mood!

9. I have no idea; must admit, I didn't really enjoy it at all. I honestly have no clue, so might as well go and embarass myself by guessing someone with whose work I'm completely unfamiliar - could this be the recent Larry Coryell plus tabla project?

Well, this would be pretty boring if we agreed on everything.

It isn't Larry Coryell and isn't recent.

[Alexander Hawkins]

Hmmm...so if it's Tristan and Ernst, could that be Michael Moore on clarinet? In which case, I think there could be a South African on board - could this be a Sean Bergin thing?

p.s. I'm tickled that I thought Han sounded like he'd checked out Han!!!

[Alexander Hawkins]

Just thinking then about track 6...could it possibly be Ingebrikt Haker-Flaten on bass?

Track 10: interesting. Not my cup of tea, normally, although I'm enjoying it a bit more second time around...could it be Charles Lloyd and John Abercrombie on ECM?

[Alexander Hawkins]

Track 11: Nice! I like it a lot. That piano player - no idea who it is - is awesome. I would like to know who it is, and if ever he can't make the gig, I would love to sub. Fantastic solo. Really enjoy the freely improvised(?) clarinet/guitar/percussion passage. Nice composition too - lucid structurally: really simple, and strong because of it.

I honestly don't know what this is, but I'm going to stick my neck out, largely because of the mix of idiomatic influences, plus the guitar sound (Ribot?) and the trombone (Rudd?) - could this be an Allen Lowe project?

Track 12: a great example of trust your ears in a blindfold test, rather than second guessing what might be the case. (I say this having read the comments above). My ears were telling me Earl Hines, but then I was thinking, what on earth could it be? I just didn't know about this. But wow, check out that piano playing. That is serious. I love the way it can be so 'in-the-pocket' and rhythmically treacherous at the same time.

Track 13: you got me. Is that a bass trumpet? Valve trombone?

[NIS]

Hmmm...so if it's Tristan and Ernst, could that be Michael Moore on clarinet? In which case, I think there could be a South African on board - could this be a Sean Bergin thing?

p.s. I'm tickled that I thought Han sounded like he'd checked out Han!!!

So I tried combining posts and it didn't work, so I'll try it this way.

It is Michael Moore and it is a Sean Bergin album. This one got me into the Dutch thing.

Just thinking then about track 6...could it possibly be Ingebrikt Haker-Flaten on bass?

Track 10: interesting. Not my cup of tea, normally, although I'm enjoying it a bit more second time around...could it be Charles Lloyd and John Abercrombie on ECM?

Track 6 is not Haker-Flaten. This will probably do it, it's not a bass.

Your guesses on musicians for track 10 are wrong but it is ECM. It don't see an Abercrombie thing here but how about the previous track? Embarassing for me but I've never heard John Lloyd some I can't comment on any similarities there.

[NIS]

Track 11: Nice! I like it a lot. That piano player - no idea who it is - is awesome. I would like to know who it is, and if ever he can't make the gig, I would love to sub. Fantastic solo. Really enjoy the freely improvised(?) clarinet/guitar/percussion passage. Nice composition too - lucid structurally: really simple, and strong because of it.

I honestly don't know what this is, but I'm going to stick my neck out, largely because of the mix of idiomatic influences, plus the guitar sound (Ribot?) and the trombone (Rudd?) - could this be an Allen Lowe project?

I am happy you like this. It is probably one of those dreaded "deserted island picks" for me but I was afraid it wouldn't be well received here. It's not Ribot but I can see why you would think that. Not Rudd either and not a Lowe project.

Track 12: a great example of trust your ears in a blindfold test, rather than second guessing what might be the case. (I say this having read the comments above). My ears were telling me Earl Hines, but then I was thinking, what on earth could it be? I just didn't know about this. But wow, check out that piano playing. That is serious. I love the way it can be so 'in-the-pocket' and rhythmically treacherous at the same time.

I can't pick out musicians, so I'm impressed you knew it was Earl Hines. It is some serious piano playing.

Track 13: you got me. Is that a bass trumpet? Valve trombone?

I'm guessing that if you know the brass instrument you will be able to guess the musician. Not the ones you mentioned though.

[Spontooneous]

1 At first, sounds like Abdullah Ibrahim and maybe Don Cherry. But after about 30 seconds I don't think it's either one of them. Maybe something Chris McGregor and Harry Beckett cooked up? I love the groove, and the way the trumpet solo keeps referring back to the theme to divide the solo into neat paragraphs.

2 Love the piano intro. Love the interlocking patterns between the trumpet and alto, then the added piano and bass patterns. That's some serious piano plucking at the 3-minute mark. Some nice detached-mouthpiece blowing after that. Then some very creative percussion – is that squawk a bowed cymbal? Somehow I suspect, strongly, that some members of ICP are involved in this. I want this disc. Now.

3 The wide-open approach to the vibes makes me think it's Walt Dickerson. Is this one of those things he did with Richard Davis? This is really beautiful, a truly uninhibited "free" performance that's free from hang-ups, which is kinda rare.

4 The trumpet sounds like the Wynton school, but the clarinet counterpoint is just outrageous. Is this one of those Randy Sandke inside-out things? Give the people more polytonal Dixieland and the world will be a better place.

5 At least two cellos, or are these overdubs? The clarinet and piano talk about changing things, but then the trombone breaks through and really does change it. Then it's like the drummer flicks a switch and everything goes bleary for a minute. Then we have a street parade. I'm confused but certainly not bored. Maybe an ICP connection here, too?

6 Not sure what to say except I like the drumming and the bass best. 1:58

7 A Wyntonish trumpet, though it isn't him. I like the bass, and the trumpet cadenza at the end.

8 It's 1973 and someone's twiddling the knobs in the studio. A lesser-known Garbarek record? Early Weather Report, or some guys who wish they were Weather Report? I like it better and better every minute. The bass playing is really right. Oh, there's two drummers in there.

9 Can't tell if it's real Asian or wannabe Asian. I like the delicacy of the guitar, or whatever that stringed instrument in the left channel is. The tablas make me think it's Oregon or some guys who listened to their Oregon records a lot.

10 Let's spend a few more minutes in ECM country. Beautiful guitar, beautiful deep-toned alto. Don't know what it is, but I want it.

11 The guitar lays it on but never slings mud. Is the trombone Ray Anderson? Then the '20s-style parody comes on and almost loses me. Then the moods change dramatically a few more times, seemingly just for the sake of changing stuff and then blowing it up. The pianist tries to stabilize things. Then the blues coda just sounds like the composer ran out of ideas. Sorry, but I want to like this one more than I do.

12 Wow. Haven't heard this since I was about 16, literally. Heard the Ry Cooder version years before I knew about Blind Blake. Or Earl Hines.

13 Happy Trails! Those are some swinging hoofbeats from the drums during the theme. The reggae groove for the solos is nice, but I like the originality of the hoofbeat groove better, and I'm glad when it comes back. I want this record.

This is an awesome batch of tracks, with a nice flow to it. Thank you, Nick!

[NIS]

Hey Joe, thanks for your comments. Glad you were happy with most of the tracks.

I need to get to bed cause we have a 6:00 AM flight tomorrow. I will try to post a response to your comments tomorrow night but I wanted to say that I was happy that someone knows Happy Trails. This version makes me smile ear to ear everytime I hear it. Your discription was great.

[Hot Ptah]

I knew that #13 was "Happy Trails", but I have no idea who is playing it. The first time I heard your BFT, I thought, this is the first time I have heard a collection of songs end with "Happy Trails" since this album:

I love #11, by the way. I just love things like this, with twists and turns and unexpected variety, all played with jazz feeling. I have no idea who it is, but I want to get it.

Edited May 10, 2011 by Hot Ptah

[NIS]

Really enjoyed your comments.

1 At first, sounds like Abdullah Ibrahim and maybe Don Cherry. But after about 30 seconds I don't think it's either one of them. Maybe something Chris McGregor and Harry Beckett cooked up? I love the groove, and the way the trumpet solo keeps referring back to the theme to divide the solo into neat paragraphs.

Not any of the guys you mentioned. This is my favorite 2010 release. I used this track because I thought it was a nice upbeat way to start off. I think/hope we will hear some good comments on this one.

2 Love the piano intro. Love the interlocking patterns between the trumpet and alto, then the added piano and bass patterns. That's some serious piano plucking at the 3-minute mark. Some nice detached-mouthpiece blowing after that. Then some very creative percussion – is that squawk a bowed cymbal? Somehow I suspect, strongly, that some members of ICP are involved in this. I want this disc. Now.

No ICP involvement here but Alexander Hawkins thought there might be a Dutch thing also. I haven't thought of that before but will have to listen with that in mind. Alexander also ID Denman Maroney. The odd sounds you heard are his prepared piano (hyperpiano he calls it). It was about the third track of the album before I heard anything the sounded at all like a piano.

3 The wide-open approach to the vibes makes me think it's Walt Dickerson. Is this one of those things he did with Richard Davis? This is really beautiful, a truly uninhibited "free" performance that's free from hang-ups, which is kinda rare.

You are correct here. I really like your comments. In fact, I wish I would have said that. WD is absolutely my favorite musician.

4 The trumpet sounds like the Wynton school, but the clarinet counterpoint is just outrageous. Is this one of those Randy Sandke inside-out things? Give the people more polytonal Dixieland and the world will be a better place.

Your guesses are wrong but I am not surprised you like the clarinet. How's that for a hint.

5 At least two cellos, or are these overdubs? The clarinet and piano talk about changing things, but then the trombone breaks through and really does change it. Then it's like the drummer flicks a switch and everything goes bleary for a minute. Then we have a street parade. I'm confused but certainly not bored. Maybe an ICP connection here, too?

Well, this one does have a big ICP connection. Alexander Hawkins was all over it.

6 Not sure what to say except I like the drumming and the bass best. 1:58

Here is another hint, not a bass.

7 A Wyntonish trumpet, though it isn't him. I like the bass, and the trumpet cadenza at the end.

This is the shortest, most straight forward cut on an album of covers from one of the early jazz greats. After a couple of comments I am kind of thinking that another cut from the album would have shown the musicians tallents off better.

[NIS]

Having some computer trouble, so here goes again.

8 It's 1973 and someone's twiddling the knobs in the studio. A lesser-known Garbarek record? Early Weather Report, or some guys who wish they were Weather Report? I like it better and better every minute. The bass playing is really right. Oh, there's two drummers in there.

Two drummers and a percussionist. Great comments again. I always thought there was a similarity to something like Mysterious Traveller also. Except, I think this album is much better. Mikeweil, I think IDed this correctly.

9 Can't tell if it's real Asian or wannabe Asian. I like the delicacy of the guitar, or whatever that stringed instrument in the left channel is. The tablas make me think it's Oregon or some guys who listened to their Oregon records a lot.

Not Asian. A couple of the guys have done a fair amount of "world" type stuff along with jazz, I think. It is a guitar. There is a very good reason for your Oregon comments. Obviously not Ralph Towner though.

10 Let's spend a few more minutes in ECM country. Beautiful guitar, beautiful deep-toned alto. Don't know what it is, but I want it.

Totally agree with your comments but the best know guys are the drummer and bass player and it's the drummers album. You might be able to pick him out, he does have a style, I think.

11 The guitar lays it on but never slings mud. Is the trombone Ray Anderson? Then the '20s-style parody comes on and almost loses me. Then the moods change dramatically a few more times, seemingly just for the sake of changing stuff and then blowing it up. The pianist tries to stabilize things. Then the blues coda just sounds like the composer ran out of ideas. Sorry, but I want to like this one more than I do.

The song is by another one of the early greats. I really like it for the reasons you don't. Go figure. No Anderson.

12 Wow. Haven't heard this since I was about 16, literally. Heard the Ry Cooder version years before I knew about Blind Blake. Or Earl Hines.

One of the few non-jazz things from way back when that I still listen to quite a bit.

13 Happy Trails! Those are some swinging hoofbeats from the drums during the theme. The reggae groove for the solos is nice, but I like the originality of the hoofbeat groove better, and I'm glad when it comes back. I want this record.

I knew that #13 was "Happy Trails", but I have no idea who is playing it. The first time I heard your BFT, I thought, this is the first time I have heard a collection of songs end with "Happy Trails" since this album:

I love #11, by the way. I just love things like this, with twists and turns and unexpected variety, all played with jazz feeling. I have no idea who it is, but I want to get it.

Forgot about Quicksilver.

I will try to think of a good hint for #11.

[NIS]

4. Fantastic – I love the feel, especially where the drummer moves to the ride cymbal. Great tempo too. Some interesting stuff in the bass, e.g. where he doubles up tempo v v briefly at 2’00”. No idea what it is. I suspect the rest of the album is not in this vein? Something about it makes me think that the players have a larger language, of which this is only part.

Alexander, I wish I would have responded a little more about this earlier. Your last thought was pretty interesting. This track comes from an album that is mostly orginials or covers of Ornette songs. This track is probably the most straight forward. The rest are in my mind really strong tunes also, especially the orginals but they tend to go "out" a little more. Plus all these guys are involved in many other groups and projects.

[Alexander Hawkins]

4. Fantastic – I love the feel, especially where the drummer moves to the ride cymbal. Great tempo too. Some interesting stuff in the bass, e.g. where he doubles up tempo v v briefly at 2’00”. No idea what it is. I suspect the rest of the album is not in this vein? Something about it makes me think that the players have a larger language, of which this is only part.

Alexander, I wish I would have responded a little more about this earlier. Your last thought was pretty interesting. This track comes from an album that is mostly orginials or covers of Ornette songs. This track is probably the most straight forward. The rest are in my mind really strong tunes also, especially the orginals but they tend to go "out" a little more. Plus all these guys are involved in many other groups and projects.

Hmmm...I'm intrigued!

[Joe]

Longish, unedited comments attached. Hope its not too TLDR. Enjoyed the journeys this BFT sent me on. Interesting meeting of roots and branches throughout, if that metaphor makes any sense.

1 = strong South African flavor, with pianist's figures most reminiscent of Abdullah Ibrahim. The trumpet player has technique to spare, but his / her tone -- "puckish" -- seems oddly matched to his ideas. Maybe a wild guess, but I would not be surprised to learn this is a brass payer not necessarily associated with this style / idiom

2 = Monk-ish piano, but with a much more velvety touch. Very much like the way the horns weave around each other to construct this theme. Timbral qualities suggest a familiar pairing... Herb Robertson and Michael Moore? Piece is full of subtle rhythmic surprises. Sonority explained! Prepared piano, or the pianist is dampening the strings with his / her hand... I know Denman Maroney has worked in this idiom, so I'm going to guess that this is a track from the recent quintet recording UDENTITY (Clean Feed). If so, I don't think I've ever heard Ned Rothenberg play quite like this.

3 = Pleasantly reverberant recording. The vibist does not quite have Walt Dickerson's "brittle" sound, but whoever it is is close, and the conception -- spacious, elliptically lyrical -- is very Walt-like. Check that: at the 2:20 mark, or so, that could be no one else but Walt Dickerson. One of his mid-70's duets with Richard Davis (if so, he sounds less stringy here than I'm accustomed to hearing him sound)? Whoever it is, just beautiful.

4 = Sort of a revival piece; I mean, idiomatically, it feels "old", but the recording sounds contemporary. Very attractive, and adventurous in its own way. I mean, I don't hear bass at all; an unusual trio formation. Not quite brassy enough to be Ruby Braff, but could be. Or, perhaps Jan Allan? No idea on the clarinet player, but whoever it is knows how to obbligato.

5 = I like the pairing of muted trumpet and violin. The vaguely Ellingtonian colors here impress more immediately than the melodic content, which seems to me to be related somehow to track 1. That this becomes something of a trombone showcase is not anything I expected. This almost has a Breuker Kollektief-type vibe, but the humor isn't quite a broad as it could be. Though there is the staggering around that commences about the 4:30 mark. Ray Anderson? Glenn Ferris? Certainly a bone player who knows the jazz tradition of the instrument, but is also comfortable going outside. Very beer-hall-like ending.

6 = Drummer definitely has a Han Bennink-tye thing going on. Could be Chris Corsano, though. If so, maybe the reed player is Paul Flaherty, but I think of him as more blowtorch-like. Have no idea about the bassist / cellist. Does not do much, I have to say, to distinguish itself from many another free performance I've heard.

7 = Nuevo-N'Awlins groove. Glad to know the trumpet player did not overdose on high notes. I like his / her semi-growl better. Nice, guitar-like approach by the bassist. I trust this track is not a joke, per se.

8 = Not a Weather Report track I recognize, but damn does it sound like Weather Report, especially the soprano sax (not an incisive as Wayne, though), bass and Airto-like percussion filigree. But the electric keyboard sounds with which this opens makes me doubt that this is either vintage, or something so easily recognized. Are there 2 drummers here? The more I listen, the more atmospheric this becomes... an ECM session? An MPS session? Maybe Charlie Mariano in his fusion phase? Rainer Bruninghaus? VERY curious to learn the answers on this one.

9 = Or this could be Charlie Mariano. Trying to break the chain of private associations here, but, well... having difficulty. Mariano has definitely worked in this context in the past, most notably with the Karnataka College of Percussion. But this is the guitarist's track, really, isn't it. Some really unusual stuff happening there: alternately reminds me of a sitar and a waterphone. Pleasant.

10 = Again, I can't escape the ECM connotations. Terje Rypdal and Jan Garbarek? Rather more romantic sounding than that, I guess, (more flamenco than I might have anticipated.) More likely its Ralph Towner, and, on second thought, the reed player does not sound all that much like Jan Garbarek... not quite hoarse enough. But I'll stick with Towner. Not too pastel for me; the rhythm section is too interesting for that.

11 = I have to confess that I really don't like for ostensibly "jazz" guitarists to experiment with rock sonorities, and have never really warmed to the playing of Bill Frisell, John Scofield, John Abercrombie et al. Nor am I much of a fan of the kind of antic swing on display here. Nice to hear a bass clarinet slorping and pitter-patting in this context. Could this be one of Carla Bley ensembles? I like the pianist's use of dynamics, which at times recall Jaki Byard, but I've no real clue as to who this is.

12 = This I know. Ry Cooder and Earl Hines playing the "Diddy-Wah-Diddy" from PARADISE AND LUNCH. A seemingly off pairing that nevertheless results in a classic performance. I prefer the light-heartedness of this to the more caustic humor of the previous performance.

13 = This trombonist sounds more like Ray Anderson -- more vocal, but not into Roswell Rudd territory, though the performance itself is an extension of jazz tradition in a very Rudd-like manner -- than the individual on track 5. But could this be a bass trombone? David Taylor? Almost sounds like a valve trombone at times (the flourishes at the 3 minute mark.) Whenever this player goes up to the top of his / her register, he / she sounds most familiar to me. Not that I can place him / her exactly. A strong ending.

Edited May 18, 2011 by Joe

[NIS]

Longish, unedited comments attached. Hope its not too TLDR. Enjoyed the journeys this BFT sent me on. Interesting meeting of roots and branches throughout, if that metaphor makes any sense.

Thanks for listening and for your comments. I actually don't know what TLDR means but I really enjoyed what you had to say, so I would say it's not.

1 = strong South African flavor, with pianist's figures most reminiscent of Abdullah Ibrahim. The trumpet player has technique to spare, but his / her tone -- "puckish" -- seems oddly matched to his ideas. Maybe a wild guess, but I would not be surprised to learn this is a brass payer not necessarily associated with this style / idiom

Well, the album notes say that this is a traditional South African song, so you start off with an interesting observation. You are the second to think of an Abdullah Ibrahim connection. I need to mull over a response on the brass player but I will say that this is probably a unique track on the album in question. In fact I kind of think it is a pretty varied program all around.

2 = Monk-ish piano, but with a much more velvety touch. Very much like the way the horns weave around each other to construct this theme. Timbral qualities suggest a familiar pairing... Herb Robertson and Michael Moore? Piece is full of subtle rhythmic surprises. Sonority explained! Prepared piano, or the pianist is dampening the strings with his / her hand... I know Denman Maroney has worked in this idiom, so I'm going to guess that this is a track from the recent quintet recording UDENTITY (Clean Feed). If so, I don't think I've ever heard Ned Rothenberg play quite like this.

You have ID this one correctly.

3 = Pleasantly reverberant recording. The vibist does not quite have Walt Dickerson's "brittle" sound, but whoever it is is close, and the conception -- spacious, elliptically lyrical -- is very Walt-like. Check that: at the 2:20 mark, or so, that could be no one else but Walt Dickerson. One of his mid-70's duets with Richard Davis (if so, he sounds less stringy here than I'm accustomed to hearing him sound)? Whoever it is, just beautiful.

Right again and again, I love his playing.

4 = Sort of a revival piece; I mean, idiomatically, it feels "old", but the recording sounds contemporary. Very attractive, and adventurous in its own way. I mean, I don't hear bass at all; an unusual trio formation. Not quite brassy enough to be Ruby Braff, but could be. Or, perhaps Jan Allan? No idea on the clarinet player, but whoever it is knows how to obbligato.

I agree, this does sound like it could be an old song but it is orginal to the group leader and I think recorded in 2001. This is a quartet. There aren't any bass solos or anything but I hear the bass pretty good. Actually I thought I screwed over the bass player on track one because I didn't think the bass showed up much on that track. Also, it's neither of your guesses and I don't know enough about those two to comment on any similarities.

5 = I like the pairing of muted trumpet and violin. The vaguely Ellingtonian colors here impress more immediately than the melodic content, which seems to me to be related somehow to track 1. That this becomes something of a trombone showcase is not anything I expected. This almost has a Breuker Kollektief-type vibe, but the humor isn't quite a broad as it could be. Though there is the staggering around that commences about the 4:30 mark. Ray Anderson? Glenn Ferris? Certainly a bone player who knows the jazz tradition of the instrument, but is also comfortable going outside. Very beer-hall-like ending.

Again, the South African connection. Neat comment. If you went back to the previous posts you know that the musicians have mostly been IDed. The trombone playing along with the cellos on the introduction are why I picked this track from the album. I guess the album name hasn't been mentioned yet. Humor was actually one of the things I like best about this album as a whole. You are right about Breuker though, with him you are likely to get everything from Wagner to Jingle Bells on the same album.

6 = Drummer definitely has a Han Bennink-tye thing going on. Could be Chris Corsano, though. If so, maybe the reed player is Paul Flaherty, but I think of him as more blowtorch-like. Have no idea about the bassist / cellist. Does not do much, I have to say, to distinguish itself from many another free performance I've heard.

Actually, the drummer has a little more than a Han Bennink "type" thing going. It is a cello, also.

7 = Nuevo-N'Awlins groove. Glad to know the trumpet player did not overdose on high notes. I like his / her semi-growl better. Nice, guitar-like approach by the bassist. I trust this track is not a joke, per se.

I wouldn't say joke but an album of Jelly Roll Morton covers had got to be some fun.

8 = Not a Weather Report track I recognize, but damn does it sound like Weather Report, especially the soprano sax (not an incisive as Wayne, though), bass and Airto-like percussion filigree. But the electric keyboard sounds with which this opens makes me doubt that this is either vintage, or something so easily recognized. Are there 2 drummers here? The more I listen, the more atmospheric this becomes... an ECM session? An MPS session? Maybe Charlie Mariano in his fusion phase? Rainer Bruninghaus? VERY curious to learn the answers on this one.

This was recognized right off by mikeweil. The Weather Report thing was mentioned also.

9 = Or this could be Charlie Mariano. Trying to break the chain of private associations here, but, well... having difficulty. Mariano has definitely worked in this context in the past, most notably with the Karnataka College of Percussion. But this is the guitarist's track, really, isn't it. Some really unusual stuff happening there: alternately reminds me of a sitar and a waterphone. Pleasant.

It's the tabla players album but the guitar is my favorite part as well. The flute player's main instrument is on most of the rest of the album but I thought that would be too easy to identify.

10 = Again, I can't escape the ECM connotations. Terje Rypdal and Jan Garbarek? Rather more romantic sounding than that, I guess, (more flamenco than I might have anticipated.) More likely its Ralph Towner, and, on second thought, the reed player does not sound all that much like Jan Garbarek... not quite hoarse enough. But I'll stick with Towner. Not too pastel for me; the rhythm section is too interesting for that.

Ok, so I guess I have to admit that there is an ECM sound. The alto and guitar players aren't much part of the ECM core of musicians. Like I said earlier the best known are the drummer and bass player, as you are noting.

11 = I have to confess that I really don't like for ostensibly "jazz" guitarists to experiment with rock sonorities, and have never really warmed to the playing of Bill Frisell, John Scofield, John Abercrombie et al. Nor am I much of a fan of the kind of antic swing on display here. Nice to hear a bass clarinet slorping and pitter-patting in this context. Could this be one of Carla Bley ensembles? I like the pianist's use of dynamics, which at times recall Jaki Byard, but I've no real clue as to who this is.

I would say that the guitar player is actually known more as a rock guy. This is not Carla Bley. I have been trying to come up with a hint on this one.

12 = This I know. Ry Cooder and Earl Hines playing the "Diddy-Wah-Diddy" from PARADISE AND LUNCH. A seemingly off pairing that nevertheless results in a classic performance. I prefer the light-heartedness of this to the more caustic humor of the previous performance.

13 = This trombonist sounds more like Ray Anderson -- more vocal, but not into Roswell Rudd territory, though the performance itself is an extension of jazz tradition in a very Rudd-like manner -- than the individual on track 5. But could this be a bass trombone? David Taylor? Almost sounds like a valve trombone at times (the flourishes at the 3 minute mark.) Whenever this player goes up to the top of his / her register, he / she sounds most familiar to me. Not that I can place him / her exactly. A strong ending.

Not a trombone and again I think if you guess the instrument, you would know the musician. Plus, I think the rhythm boys are pretty good too.

Thanks very much for checking in.

Edited May 19, 2011 by NIS

[Joe]

Thanks NIS.

TLDR = Internet-ese for "too long, didn't read."

On 9, Colin Walcott is the only jazz-like tabla player I can think of. But your hint really has me wondering about the flutist. I'm thinking Codona, and I'm thinking that's the Pied Piper himself, Don Cherry

10 still seems very Towner-like and Mariano-esque to me. Is that Juhani Aaltonen on alto. Really curious to learn the answers now on this one, too.

On 11... Gary Lucas? Or maybe even Danny Gatton?

12: listening again, I hear now why I could not quite decide if this was valve trombone, bass trombone, or some bastard instrument. If my ears aren't entirely deceiving me, its French horn. Is this Tom Varner? If so, its a Varner recording I've not heard before.

[NIS]

Thanks NIS.

TLDR = Internet-ese for "too long, didn't read."

On 9, Colin Walcott is the only jazz-like tabla player I can think of. But your hint really has me wondering about the flutist. I'm thinking Codona, and I'm thinking that's the Pied Piper himself, Don Cherry

10 still seems very Towner-like and Mariano-esque to me. Is that Juhani Aaltonen on alto. Really curious to learn the answers now on this one, too.

On 11... Gary Lucas? Or maybe even Danny Gatton?

12: listening again, I hear now why I could not quite decide if this was valve trombone, bass trombone, or some bastard instrument. If my ears aren't entirely deceiving me, its French horn. Is this Tom Varner? If so, its a Varner recording I've not heard before.

9 is a Colin Walcott album with Don Cherry. This one predates the Codona stuff by a few years but is certainly in the same vein.

I have been listening to 10 while checking the net this morning and I can hear the Towner similarities. Not sure about Mariano, I haven't listened to him for some time. Not Aaltonen either. I still think someone might recognize the drummer.

You are exposing my lack of knowledge, I don't know Gary Lucas or Danny Gatton. When I get time this evening or next I will have to look them up.

12 is Tom Varner. Album is from the 1980s, I am away from my notes right now but I think the later 1980s. Terrific musician for my taste.

[Alexander Hawkins]

Ah...I think I've been missing something...I think I must have downloaded a faulty version of the last track, because all I could hear was a 3 second snippet of brass plus laughter! I hope I would have recognised a French Horn, since I used to (attempt to) play one