BillF

I think that expressing themselves in the music of the past is now a natural thing for many jazz musicians - it's not just a marketing ploy. This applies both here and in the US: Alan Barnes and Mark Nightingale on this side; Eric Alexander and the Small's guys on the other. A very relevant factor is that the music of the past was instilled into these musicians in their youth in university or college jazz courses or in youth jazz orchestras. This hadn't happened to musicians who were big names 60 years ago.

Cannonball Bullitt Neville Shute

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But could you get her to go and see Alan Barnes with you? That would be the real test!

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In my experience it's also a matter of individual variation. My younger daughter, now 24, is and always was as described by Hot Ptah. My elder daughter, on the other hand, as an older teenager ignored current chart hits and followed indie bands of the time (e.g. Manic Street Preachers)and developed a taste for Manchester bands of a decade earlier, eventually buying CDs from as far back as the Sex Pistols. Now she's 30 and on a recent home visit she went to see Pharoah Sanders with me. Phew!

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Macavity Mungojerrie and Rumpelteazer Bustopher Jones

Oswald Mosely Max Mosely Spanky deBrest Jonathan Cainer Abel Gance Brian Glover Savion Glover Max Glover Max Factor Max Headroom Mr Bump Kenny Napper

Here's that hint: check recent posts in ****The Return of the Film Corner****. The suspense is killing some of us.. Ubu's got the message in post #7867 in ****The Rise of the Film Corner**** Aha - never heard of her though !

Great response, Thom. Really enjoyed reading that! Thought provoking comments and some sharp identifications - but not too many at this stage, which would spoil the fun! Track 1 Not surprised you'd heard the tune: your "post-Blue Note guys hugging the past" is on the mark, albeit unflattering to the musicians! No accurate identifications so far. Track 2 Let's see how the others fare with this one. Track 3 I think you mean Golson as first tenorist, rather than composer, in which case, direct hit! In the right direction with the "second guy". Track 4 Yes, "more modern" indeed. I agree about the focus on the "right" notes - the leader here is far less inhibited on live dates, which this isn't, of course. Track 5 The comparison with Wardell is on the mark and, yes, it's the same tenor coming back. Track 6 Yes, guitarist of the Freddie Greene sort, but not him. Perhaps they couldn't get him that day! Track 7 Yes, very West Coast. Not Pepper. Track 8 It's earlier than you think, but what do you know, the young Maynard's in the section! Track 9 Tune identified. As to the piano style, yes, Hank Jones and this guy admired the same piano master. Track 10 Not KC. Not Buddy Tate. Track 11 Full marks for recognizing the rarely-covered "Segment"! Brilliant prompt you had! None of your identifications are right, though. Track 12 Yes, I agree, vaguely Basieish. Otherwise, you've got a way to go on this one. Track 13 Right on "Camarillo". You seem well qualified in Birdology. Hope your sleuthing will bring more results!

Here's that hint: check recent posts in ****The Return of the Film Corner****. The suspense is killing some of us.. Ubu's got the message in post #7867 in ****The Rise of the Film Corner****

Oswald Mosely Max Mosely Spanky deBrest Jonathan Cainer Abel Gance Brian Glover

Very pleased you've got power back after your ordeal. I guessed you were without power, as I followed the situation in the Daily Freeman online. My paper, the Guardian carried lots of photos of the Catskills devastation in its online version.

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Della Street Mark Lane Parker Posey Posy Simmons Red Garland Orlando Bloom

Track 4 Don't feel bad about not getting this one. There are so many people this could be. Dare I say the track is a wee bit anonymous. The only Pat Martino I have in my collection is much later - on Eric Alexander's The First Milestone, but Martino does sound like a lot of other guitarists.

Track 3 If hearing the musicians live helps identify them in a BFT, then I should have got somewhere with this one, too, as I saw a Roach quintet with Odean Pope and saw Cecil Bridgewater in the Thad Jones/Mel Lewis band, both in Manchester in the late 60s. Otherwise, there was little to help me here. My record collection has very little from around 1980 and, while I think I'd recognize Roach's drumming from the 50s, it didn't sound characteristic here. The use of swing era Rex Stewart-style trumpet inflections by a modern trumpeter was interesting and I seem to recall there was a fashion for this at the time. Did Hubbard do anything like that?

Track 2 I had good reason to do better on this one, too, as was at a Bobby Shew gig two years ago at the Wigan Jazz Festival in Greater Manchester. Bobby looked like he was in poor health and I put his restrained style down to that, but he's restrained here too - but in a good way, you know? Very tasteful and beautiful placing of the trumpet lines over the rhythm.

Track 1 I really should have done better on this one. I knew the tune, but didn't place it as "Peter's Waltz" from the Clarke Boland Big Band's Sax No End, which I have in my collection. In retrospect, I think the impeccable brushes work of Kenny Clarke was a giveaway, too.

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Part of it, yes. Interrupted for breakfast. (Had to leave the desktop.) I've either got to get a laptop or you've got to get archives!

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Your turn to have your say!