BFT #89 Discussion

[tkeith]

Chat it up about BFT #89 here. Guesses, opinions and general feedback welcome. Good luck and enjoy!

[Hot Ptah]

Thom, I really enjoy this BFT. It has some of the styles of jazz which I like best. It also seems to feature some recent recordings, which is something I am interested in learning about.

Also, it is a great BFT in that sometimes I think I know who is playing, but cannot find any recording by them which is like the song you picked. So either you are fooling me about the artist, or have found a recording more obscure than what I know about.

I am not good at all at identifying musicians on these BFTs, but here are my initial reactions anyway.

1. A jazz waltz, with an excellent tenor saxophonist, who knows his Stan Getz. But it just can't be Getz, not with some of the lower register passages here.

2. A great group. It sounds like a mainstream recording from the 1990--2011 period to me. The trumpet player has a really nice tone. Excellent bass solo. Really interesting piano solo. I have no idea who they are, but I want to know, and I want to buy this album.

3. What an exciting trumpet player! Who plays those plunger mute effects any more? And who plays only through a mouthpiece, as the trumpet player does at the end? Is this "St. James Infirmary"? I heard at least a hint of it at one point. This is a swinging, bluesy song. The drummer keeps up the swing but plays with a lot of appealing variety too. The bass player has a nice, rich, big tone. I love this. I think it is from some time in the last 20 years, which qualifies as the "recent era" to me.

4. I like this--the flute and guitar solos are appealing. The electric keyboard and drummer combine for some rather odd rhythms, choppy feeling. I really have no idea who would do this.

5. This is either McCoy Tyner or someone who sleeps with his records. It sounds like a 1970s album to me. The tenor saxophonist is very Coltrane influenced. But I thought I knew literally all of McCoy's solo output, and a lot of his recordings as a sideman, and I cannot find this in my collection anywhere. It is a real mystery to me. At first I thought it was Azar Lawrence on tenor saxophone, but when I played "Enlightenment" and "Atlantis" I was immediately struck by how Azar's tone is very different than the tenor saxophonist here. I give up, and am dying to know what this is.

6. A perky Latin tune, with a nice flute solo. At first I thought it might be Monty Alexander. Then the piano solo made me think it was Don Pullen. I checked all of my Don Pullen albums, and while some of them have flute players and some have Latin rhythms, this song is not on any of them. Again, I give up, and would really like to know who this is!

7. This is a real oddity to me. I do not know who the vocalists are. Who would combine music that leans to the avant garde with vocals like this? I have no idea. This is extremely interesting.

8. At first I thought that this was too close to a dirge, that the disc was coming to a dreary halt. But the song built and built into a very beautiful piece, just wonderful. The trombone player and tenor saxophonist both play quite beautiful solos.

9. This strikes me as a "recent" (again, to me that means 1990 or later) recording of a very hot small group. The trumpet player has a big tone, very distinctive, and is probably the group leader. Really good. I want to buy this, once I find out who it is.

10. I think that this is Pharoah Sanders, but cannot find an album with a vibes/piano/bass/drums group with him. The drummer sounds like he knows his Elvin Jones. This is either a mid to late 1960s recording on which Pharoah Sanders plays, or a group which is trying to achieve that type of sound, with success. I love this.

11. A beautiful ballad. The tenor saxophone solo is beautiful, and notable. The trombone solo is very nice. This is a compelling slower piece.

12. Who has ever played baritone saxophone so fast, so fluidly, with such an exhibition of chops? I wonder if it is James Carter. He would do something like this. I kept up with his albums for a while, but have fallen behind as he releases more and more under his name.

13. A compelling piece, with trumpet, a squeezebox type of instrument, and a bass player I really like. The bass player has that big, rich tone that used to be more common--I love the bass player's tone. The squeezebox does not sound like an accordian. I wonder if it is one of the South American instruments, such as the one used in Argentine tangos.

14. A rousing finish. These guys got A's in their Art Blakey classes at the university. A powerful swinging song, just great.

So I know almost no one on this test, and hopefully others can fill in with correct guesses. I wanted to let you know Thom, how much I love this BFT.

Edited August 1, 2011 by Hot Ptah

[BillF]

Once again I'm reminded that there are whole acres of the music I don't know about! The nearest I come to identifying anyone is to back Hot Ptah's view that the pianist on 5 sounds like McCoy Tyner. With the exception of 9 and 13, I find everything here very listenable. My favorite track is 12 with the nifty baritone playing. This track is nearest to the sort of jazz I usually listen to, particularly on the live sessions I go to.

[NIS]

After the first couple of listens on most BFTs, something jumps out at me. On this one it is track #3. Great take on an older song (I think). Love the trumpet. I hope someone IDs this so I don't have to wait till the end of the month.

I'll make one initial attempt to embarass myself with an ID. Didn't play long but I think I'm hearing Dino Saluzzi on track #13. Like the drums and bass on this one as well.

More listening to do here but thanks very much.

[tkeith]

5. This is either McCoy Tyner or someone who sleeps with his records. It sounds like a 1970s album to me. The tenor saxophonist is very Coltrane influenced. But I thought I knew literally all of McCoy's solo output, and a lot of his recordings as a sideman, and I cannot find this in my collection anywhere. It is a real mystery to me. At first I thought it was Azar Lawrence on tenor saxophone, but when I played "Enlightenment" and "Atlantis" I was immediately struck by how Azar's tone is very different than the tenor saxophonist here. I give up, and am dying to know what this is.

Not McCoy, but I'd guess he's spent a quality evening or two with the catalog.

6. A perky Latin tune, with a nice flute solo. At first I thought it might be Monty Alexander. Then the piano solo made me think it was Don Pullen. I checked all of my Don Pullen albums, and while some of them have flute players and some have Latin rhythms, this song is not on any of them. Again, I give up, and would really like to know who this is!

Well, I'd go with your instincts on this one. I don't want to blow it early, but you're RED hot.

10. I think that this is Pharoah Sanders, but cannot find an album with a vibes/piano/bass/drums group with him. The drummer sounds like he knows his Elvin Jones. This is either a mid to late 1960s recording on which Pharoah Sanders plays, or a group which is trying to achieve that type of sound, with success. I love this.

Not Pharoah, but the influence is certainly there.

12. Who has ever played baritone saxophone so fast, so fluidly, with such an exhibition of chops? I wonder if it is James Carter. He would do something like this. I kept up with his albums for a while, but have fallen behind as he releases more and more under his name.

This one is going to give people fits, I think. It's not James.

So I know almost no one on this test, and hopefully others can fill in with correct guesses. I wanted to let you know Thom, how much I love this BFT.

Glad to hear on all counts! Nice to be able to open some doors folks aren't familiar with.

Once again I'm reminded that there are whole acres of the music I don't know about! The nearest I come to identifying anyone is to back Hot Ptah's view that the pianist on 5 sounds like McCoy Tyner. With the exception of 9 and 13, I find everything here very listenable. My favorite track is 12 with the nifty baritone playing. This track is nearest to the sort of jazz I usually listen to, particularly on the live sessions I go to.

Track 9 is definitely a particular niche in the genre.

After the first couple of listens on most BFTs, something jumps out at me. On this one it is track #3. Great take on an older song (I think). Love the trumpet. I hope someone IDs this so I don't have to wait till the end of the month.

I'll make one initial attempt to embarass myself with an ID. Didn't play long but I think I'm hearing Dino Saluzzi on track #13. Like the drums and bass on this one as well.

More listening to do here but thanks very much.

Track 3 is likely based on a particular type of tune, but I believe they claimed it as an original. I'll have to double check. On track 13, DING! DING! That's an impressive peg.

[NIS]

Track 3 is likely based on a particular type of tune, but I believe they claimed it as an original. I'll have to double check. On track 13, DING! DING! That's an impressive peg.

Not too impressive. I have two or three albums by Dino Saluzzi, most on LP, so I've been listening to them for a long time. He has a style.

[Spontooneous]

More later, but quickly for now: #7 must be Track 2 here, right? I recognize the tenor, but not the performance, and I don't have this record.

[tkeith]

More later, but quickly for now: #7 must be Track 2 here, right? I recognize the tenor, but not the performance, and I don't have this record.

DING! DING!

[Spontooneous]

OK, back for more. Here's the first half:

1. The groove really floats, even with the bongos, and the solos float too. A magical track. I was trying to think of bari players who recorded with vibes and bongos, and the list was pretty short. This track is No. 2 here.

2. I'm getting a mid-to-late-80s vibe. Is the drummer Smitty Smith? Is the pianist James Williams? The trumpet solo is really lovely.

3. Obviously I have to guess Lester Bowie. Or Malachi Thompson. A haunting take on "Motherless Child."

4. Maybe Herbie Mann in the days before Sonny Sharrock. This does less for me than the first three did.

5. You say that's not McCoy Tyner? Then it's somebody with serious imitation issues.

6. The pianist has just gotta be Don Pullen. Just gotta be. (Then again, that's just gotta be McCoy on 5.) Maybe this is one of the things Don did with Jane Bunnett?

7. See my previous post.

Edited to fix stupid spellings.

Edited August 10, 2011 by Spontooneous

[tkeith]

Just a note: I'm currently working on a transcription of Track 2. It seems to me to be a contrafact, but I can't place of what tune. If you have thoughts, please share.

[tkeith]

OK, back for more. Here's the first half:

1. The groove really floats, even with the bongos, and the solos float too. A magical track. I was trying to think of bari players who recorded with vibes and bongos, and the list was pretty short. This track is No. 2 here.

DING! DING!

2. I'm getting a mid-to-late-80s vibe. Is the drummer Smitty Smith? Is the pianist James Williams? The trumpet solo is really lovely.

No, but I like the guesses. These guys were likely more popular at the time, but should not have been (IMHO).

3. Obviously I have to guess Lester Bowie. Or Malachi Thompson. A haunting take on "Motherless Child."

4. Maybe Herbie Mann in the days before Sonny Sharrock. This does less for me than the first three did.

5. You say that's not McCoy Tyner? Then it's somebody with serious imitation issues.

6. The pianist has just gotta be Don Pullen. Just gotta be. (Then again, that's just gotta be McCoy on 5.) Maybe this is one of the things Don did with Jane Bunnett?

7. See my previous post.

#3, no, but I like the guess.

#4, nope, but again, I like what you're hearing.

#5, not McCoy

#6, yes, Pullen has been ID'd, but the others/album have not. Not Jane.

#7, this one was ID'd, and again, I like what you're hearing. I think the thought of JB will be very justified when you see who it is.

[NIS]

Will someone please put an ID on track #3.

[tkeith]

Will someone please put an ID on track #3.

Eventually.

[JSngry]

Time to play, eh? Then play let's do!

Thanks & disclaimers of the causal variety firmly ensconced , the game beginneth thus:

TRACK ONE - The bari player's dropping icicles in the rhythm sections' tree, then the pianist turns the dimmer light off the switch so the lights can burn steadily. Must be nice to lie where the weather is conducive to that. Eccentric, like Sahib Shiab. Don't knwo this cut, though, so...

TRACK TWO - For some reason, I want to say Tom Harrell. A little sluggis for my taste, but if there was turkey on the pre-gig buffet, that can be explained in all good conscience. Rufus Reid on bass? This cut should be on a sampler put out by a beauty care product, so clearly does is speak to soft glow that comes from properly cleaned and regularly maintained female facial flesh. Definitely some synergistic opportunities there!

TRACK THREE - Well, ok, that Max's "Six Bits Blues" that he did on the Horo side, but this is not that performance, it's shorter, and that's not Billy Harper, but that is Max, unmistakably so....was this on "Chatahootchie Red"? Yes, I believe it was! This is good, but geez lou-eaze, geta copy of The Loadstar when it comes you way and heard Billy Harper testify oer the course of this tempo over the other course of a hole album side. DO IT, DO IT NOW!

TACK FOUR - Early 70s, I'd say, very organic use of congas. guitarists's pretty much a a bitch, I could speculate it being Martino. The overall mix (on these speakers here) heas a vaguely TI-ish tinge to it, either CTI or early, Elvin Campbell-era Milestone. Jamming the Jazz Airwaves with that good SOUNDING jazz records that sounded so good to jazz listeners ears playing on jazz radio. No matter, though. I like this a lot. This is a very organic rhythm section, they know what to do it, and how the why. Anytime you get that, you got a keeper.

TRACK FIVE - The alto sounds familiar. The pianist is in McCoy's house but not using the same furniture, There was a lot of that back then, it was fun to watch.Joe Bonner was really fun. Rahsaan had some guy, what was is name...Sonelius Smith? Anyway, thre was a lot of this going on, and it was all pretty good, as is this. But then cats started doing something else.

TRACK SIX - Trying to listen to the top of the musc, but the bottom is where it's at for me so far. Oh, that's Don Pullen! No wonder everything works. Don Pullen was an understanding musician.

TRACK SEVEN - That's Clifford Jordon in there. Oh yes it is.More than that, I'll just shut up and listen.

TRACK EIGHT - http://www.allmusic.com/album/exploration-r721819/review Highly Recommended. Clarity every where you look, but of course, you won't have to look, co clear will it all be. Pretty amazing record, really, and didn't get too much past the first hype-wave iirc. Too much clarity for the hype!

TRACK NINE - Plenty o'coke there! Or so it might sound. Sonny Fortune w/Charles Sullivan? Pretty sure that's Sonny. But that was when playing was part of a full mind and body regimen to keep you strong and clarified so you could do your part when the revolution came. Things in general were better when you did them in the spirit of having your mental and spiritually and musical shit together for when the revolution came. You were preparing to ELEVATE! Now it's all just about guns. Serious stepdown in the quality of possible input and expected output when that's all the revolution is gonna need to succeed, is just plenty of guns.

TRACK TEN - Not sure who that altoist is, but they have a command of the contour of opening sermon that not all who attempt to preach do. Actually, there is a command and understanding of the entire vocabulary and esthetics that is pretty damn compelling. Wish I could call names, but whoever the answers are, they themselves will be right. The tune itself sounds like "Calvary", the one that Billy brought to Max's band.This is a promised land of no more idiotic diatonic loops propping up visions of cute, wry love, with every body trying to sell you something for you to use to make them more money, or where your rightful place is preached to you by people who have already determined their rightful place and who will let you have a rightful palce of your own as long as it possessee a seriveable funtionality to their own. yes, THIS is a vision of all that being gone, free at last of all the mind traps and games laid there to keep you tying to pursue your pursuit in a world that is not designed for you to pursue past the point of being a very useful servant - for somebody else. This is a vision of a world of your own, where whatever relevances you need to make, you make it to something that is yours, not somebody else's.and ain't it a glorious vision to behold?

TRACK ELEVEN - Kinda hard to do a still-life these days. Nothing ever really slows down unless by force.

TRACK TWELVE - Was going to go with Ronnie Cuber, but then the momentum kinda fell off. Good, frisky drumming! Might be latter-day Pepper though, or Brignola.

TRACK THIRTEEN - Charming, but not really speaking to me too much at this moment.

TRACK FOURTEEN - Dynamite cover sheet...less compelling once you start reading...but it works.

Definitely a provocative collection, as well as an enjoyable one. Gracias Beaucoup!

[tkeith]

Time to play, eh? Then play let's do!

Thanks & disclaimers of the causal variety firmly ensconced , the game beginneth thus:

TRACK ONE - The bari player's dropping icicles in the rhythm sections' tree, then the pianist turns the dimmer light off the switch so the lights can burn steadily. Must be nice to lie where the weather is conducive to that. Eccentric, like Sahib Shiab. Don't knwo this cut, though, so...

Ding! Ding! Another correct ID of Shihab.

TRACK TWO - For some reason, I want to say Tom Harrell. A little sluggis for my taste, but if there was turkey on the pre-gig buffet, that can be explained in all good conscience. Rufus Reid on bass? This cut should be on a sampler put out by a beauty care product, so clearly does is speak to soft glow that comes from properly cleaned and regularly maintained female facial flesh. Definitely some synergistic opportunities there!

Not Harrell, but a great guess.

TRACK THREE - Well, ok, that Max's "Six Bits Blues" that he did on the Horo side, but this is not that performance, it's shorter, and that's not Billy Harper, but that is Max, unmistakably so....was this on "Chatahootchie Red"? Yes, I believe it was! This is good, but geez lou-eaze, geta copy of The Loadstar when it comes you way and heard Billy Harper testify oer the course of this tempo over the other course of a hole album side. DO IT, DO IT NOW!

Ding! Ding! Album and song ID'd. The Loadstar version was longer than I was shooting for for this BFT.

TACK FOUR - Early 70s, I'd say, very organic use of congas. guitarists's pretty much a a bitch, I could speculate it being Martino. The overall mix (on these speakers here) heas a vaguely TI-ish tinge to it, either CTI or early, Elvin Campbell-era Milestone. Jamming the Jazz Airwaves with that good SOUNDING jazz records that sounded so good to jazz listeners ears playing on jazz radio. No matter, though. I like this a lot. This is a very organic rhythm section, they know what to do it, and how the why. Anytime you get that, you got a keeper.

Ding! Ding! Martino is correct. Anybody have the album?

TRACK SIX - Trying to listen to the top of the musc, but the bottom is where it's at for me so far. Oh, that's Don Pullen! No wonder everything works. Don Pullen was an understanding musician.

Ding! Ding!

TRACK SEVEN - That's Clifford Jordon in there. Oh yes it is.More than that, I'll just shut up and listen.

Ding! Ding!

TRACK EIGHT - http://www.allmusic.com/album/exploration-r721819/review Highly Recommended. Clarity every where you look, but of course, you won't have to look, co clear will it all be. Pretty amazing record, really, and didn't get too much past the first hype-wave iirc. Too much clarity for the hype!

Ding! Ding! (I don't recall anybody doing this well on a BFT since Stereo Jack was participating!)

TRACK NINE - Plenty o'coke there! Or so it might sound. Sonny Fortune w/Charles Sullivan? Pretty sure that's Sonny. But that was when playing was part of a full mind and body regimen to keep you strong and clarified so you could do your part when the revolution came. Things in general were better when you did them in the spirit of having your mental and spiritually and musical shit together for when the revolution came. You were preparing to ELEVATE! Now it's all just about guns. Serious stepdown in the quality of possible input and expected output when that's all the revolution is gonna need to succeed, is just plenty of guns.

Ding! Ding! Sonny Fortune is correct! Not Sullivan, though.

TRACK TEN - Not sure who that altoist is, but they have a command of the contour of opening sermon that not all who attempt to preach do. Actually, there is a command and understanding of the entire vocabulary and esthetics that is pretty damn compelling. Wish I could call names, but whoever the answers are, they themselves will be right. The tune itself sounds like "Calvary", the one that Billy brought to Max's band.This is a promised land of no more idiotic diatonic loops propping up visions of cute, wry love, with every body trying to sell you something for you to use to make them more money, or where your rightful place is preached to you by people who have already determined their rightful place and who will let you have a rightful palce of your own as long as it possessee a seriveable funtionality to their own. yes, THIS is a vision of all that being gone, free at last of all the mind traps and games laid there to keep you tying to pursue your pursuit in a world that is not designed for you to pursue past the point of being a very useful servant - for somebody else. This is a vision of a world of your own, where whatever relevances you need to make, you make it to something that is yours, not somebody else's.and ain't it a glorious vision to behold?

Ding! Ding! Calvary is the tune, nobody has the musicians, yet.

TRACK TWELVE - Was going to go with Ronnie Cuber, but then the momentum kinda fell off. Good, frisky drumming! Might be latter-day Pepper though, or Brignola.

This one is going to be fun when the ID comes out. Be prepared folks, there be shocks on the horizon.

Quite a good job on this one. Also nice to run into folks who share my ears' point of view.

[JSngry]

TRACK TEN - Not sure who that altoist is, but they have a command of the contour of opening sermon that not all who attempt to preach do. Actually, there is a command and understanding of the entire vocabulary and esthetics that is pretty damn compelling. Wish I could call names, but whoever the answers are, they themselves will be right. The tune itself sounds like "Calvary", the one that Billy brought to Max's band.This is a promised land of no more idiotic diatonic loops propping up visions of cute, wry love, with every body trying to sell you something for you to use to make them more money, or where your rightful place is preached to you by people who have already determined their rightful place and who will let you have a rightful palce of your own as long as it possessee a seriveable funtionality to their own. yes, THIS is a vision of all that being gone, free at last of all the mind traps and games laid there to keep you tying to pursue your pursuit in a world that is not designed for you to pursue past the point of being a very useful servant - for somebody else. This is a vision of a world of your own, where whatever relevances you need to make, you make it to something that is yours, not somebody else's.and ain't it a glorious vision to behold?

Ding! Ding! Calvary is the tune, nobody has the musicians, yet.

Is this it?

[tkeith]

TRACK TEN - Not sure who that altoist is, but they have a command of the contour of opening sermon that not all who attempt to preach do. Actually, there is a command and understanding of the entire vocabulary and esthetics that is pretty damn compelling. Wish I could call names, but whoever the answers are, they themselves will be right. The tune itself sounds like "Calvary", the one that Billy brought to Max's band.This is a promised land of no more idiotic diatonic loops propping up visions of cute, wry love, with every body trying to sell you something for you to use to make them more money, or where your rightful place is preached to you by people who have already determined their rightful place and who will let you have a rightful palce of your own as long as it possessee a seriveable funtionality to their own. yes, THIS is a vision of all that being gone, free at last of all the mind traps and games laid there to keep you tying to pursue your pursuit in a world that is not designed for you to pursue past the point of being a very useful servant - for somebody else. This is a vision of a world of your own, where whatever relevances you need to make, you make it to something that is yours, not somebody else's.and ain't it a glorious vision to behold?

Ding! Ding! Calvary is the tune, nobody has the musicians, yet.

Is this it?

Why, yes... yes it is.

[JSngry]

Wow...when you do the answer thread, please elaborate on who this guy is/was...never heard of him, but he reached me.

[tkeith]

Wow...when you do the answer thread, please elaborate on who this guy is/was...never heard of him, but he reached me.

Will do and there are more surprised to come with that.

[jeffcrom]

A little late in the game, as usual. I haven't looked at this thread, but I'm sure the two tracks I was able to ID have already been identified by others.

1. The first two tracks had a “prettiness” which made me wary, but the quality of the baritone solo won me over. I don’t know who it is, but he/she plays a well-constructed, energetic solo. I like it.

2. Similar reaction here – I don’t like the “sheen” of this piece, but the playing is great. Excellent flugelhorn (or maybe trumpet) and drumming, even if the drummer sometimes sounds like he’s in another room. Jeez, I really hate the bass sound, although the bassist is good. Again, no idea who, but I like the music, although not the recording.

3. “Six Bits Blues,” by the Max Roach Quartet, from Chattahoochee Red, with Cecil Bridgewater on trumpet (and trumpet mouthpiece). I love the fact that the sophisticated Mr. Roach could write such a basic, bluesy piece. Bridgewater sounds great on this, although I wish that they had stretched this out more.

4. Trippy organ, excellent guitar and flute. Don’t know who it is. I like it, but it’s not anything I would make a point to seek out.

5. Nice Tyner-ish piece. It might even be McCoy, but somehow doesn't sound thunderous enough. The alto player, whom I like, reminds me of Arthur Blythe, James Spaulding, and Gary Bartz at different times, which is another way of saying that I have no idea who it is.

6. This didn't do much for me until Don Pullen's skittering piano. The flute soloist, whom I hope is not George Adams, just wasn't playing anything very interesting. The percussion workout is okay, and the bassist is good. Don't know what this is from. Overall, I'm less than overwhelmed.

7. Some heartfelt lyrics, good trumpet and tenor solos. But after a couple of listens, it comes off as too “earnest” for my tastes. I like the pianist’s comping more than anything else about the performance. Don’t have any ideas about personnel.

8. “Love and Hate,” from Grachan Moncur’s Explorations album. Billy Harper is the tenor soloist. I used to consider Moncur’s playing as somewhat “detached,” but in its own way, it has a lot of warmth. Harper’s strong solo is the perfect foil for Moncur’s playing. I like this performance, and the entire album, a lot. Mark Masters deserves a lot of credit for his arrangements of Moncur’s compositions on Explorations.

9. This is something I’ve heard before, I think, but I can’t come up with what it is. It all sounds very familiar. Good playing – I would guess that it’s the drummer’s date, based on the length of his solo, but I don’t really know.

10. Another alto player whom I feel I should be able to identify – but so far I haven’t. I like his passion. I feel a little let down by the vibes – not so much by the playing as by the way the instrument is recorded. (Why does anyone think it’s a good idea to spread the vibes across the entire stereo spectrum, as if the listener was sitting on the floor right in front of the instrument?) I’m looking forward to finding out who the saxophonist is.

11. Since I just complained about the recording on the last track, I’ll say that I l’m impressed with the very natural-sounding recording of this track. And it’s wonderful music – everyone is listening. I could guess one of the usual suspects on French horn, but I don’t really know. Enjoyed hearing this one.

12. Energetic, exciting music. I like the pianist more than the bari player, for what it’s worth – the saxophonist met my expectations; the piano player both met and confounded them, if that makes sense.

13. Nice, insinuating piece – it suggests rather than declares. Is it the bass player’s group? I like the colors of this one.

14. Vaguely familiar, like several others in this BFT. Good solos all around, especially the trumpet and alto. I usually like a more subtle rhythmic approach, but I hope there is always room in jazz for a good hard shuffle.

Thanks for the interesting music, and thanks again for stepping in at the last minute.

[tkeith]

3. “Six Bits Blues,” by the Max Roach Quartet, from Chattahoochee Red, with Cecil Bridgewater on trumpet (and trumpet mouthpiece). I love the fact that the sophisticated Mr. Roach could write such a basic, bluesy piece. Bridgewater sounds great on this, although I wish that they had stretched this out more.

Ding! Ding!

6. This didn't do much for me until Don Pullen's skittering piano. The flute soloist, whom I hope is not George Adams, just wasn't playing anything very interesting. The percussion workout is okay, and the bassist is good. Don't know what this is from. Overall, I'm less than overwhelmed.

Sorry, guy. Ding! Ding! George Adams in the flutist.

8. “Love and Hate,” from Grachan Moncur’s Explorations album. Billy Harper is the tenor soloist. I used to consider Moncur’s playing as somewhat “detached,” but in its own way, it has a lot of warmth. Harper’s strong solo is the perfect foil for Moncur’s playing. I like this performance, and the entire album, a lot. Mark Masters deserves a lot of credit for his arrangements of Moncur’s compositions on Explorations.

Ding! Ding!

This one hasn't fooled many, which makes me happy. It's a great record that didn't seem to get much attention when it came out.

[jeffcrom]

6. This didn't do much for me until Don Pullen's skittering piano. The flute soloist, whom I hope is not George Adams, just wasn't playing anything very interesting. The percussion workout is okay, and the bassist is good. Don't know what this is from. Overall, I'm less than overwhelmed.

Sorry, guy. Ding! Ding! George Adams in the flutist.

I deeply love George Adams' music for multiple reasons beyond his playing itself. He grew up in Covington, Georgia, 30 minutes east my home in Atlanta. And for a few years, he was a public school band teacher, as I was for 29 years. He met Don Pullen at the legendary Royal Peacock, on Auburn Avenue, not far from where I live. And I saw/heard him play multiple times. But I don't like his playing here - and that makes me kind of sad.

Edited August 24, 2011 by jeffcrom

[tkeith]

Good stuff. I hadn't known that about George. I too am a big fan, though. However, when the quartet formed, they seemed to have an almost pop-ish approach to albums so much so that most albums had one great track, one good track, and three I never played. That was always disappointing. I saw them once, and that was epic.

[BillF]

Had the good fortune to hear George Adams with the Gil Evans Orchestra here in Manchester in 1978. Love his impassioned playing!

[jeffcrom]

Okay, I spent a couple of more days thinking about track 6, and realized that it was from this:

At least that's what my cover looks like - it was apparently also issued with another cover. It's "Calypso in Roma," from Don Pullen's Jazz a Confronto #21 on Horo - George Adams, Don Pullen, David Williams on bass and percussion, and Dannie Richmond. I still don't think it's George Adams' best work, but I'm a little embarrassed at how hard I was on him. I like the rest of the album more that I do this track - except maybe for Dannie Richmond's vocalizing - maybe that's why I didn't recognize this right away.

Or maybe I just have too many damn records.