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About tkeith

  • Birthday 02/03/1970

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    New Hampshire
  • Interests
    Music, Food, Baseball, all things Horace Tapscott

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  1. Confirmed. The ID is still open, but that's because I only found it via sleuthing, so I didn't want to claim the glory.
  2. I suppose I'd better get in here before all the glory is gone. Track 01 - Easy*. Can't miss Ari. With Kahil doing his best impersonation of Elvin. There's nothing I don't love about this. And, with due respect to Pharoah (and if you've known me 3 seconds, you know I absolutely LOVE Pharoah), this is absolute ownership. Pharoah acquits himself well, but Ari just... wow. Kahil certainly gets it. And let's not sleep on that bassist from Children of the Corn. Track 3 from this. *[inside joke between me and Tim] Track 02 - The head me thinking Ahmed Abdullah, but that tenor is throwing me. Sounds like Eric Alexander if somebody pissed him off (in a good way). Not Ahmed Abdullah. I'm liking the drums most prominently, but I can hear what you like about the bassist, who sure as hell sounds like Ron Carter at times. Wait, that's gotta be Tony Williams. Second listen... Art Farmer? What? Okay, sleuthing gets me to the answer, but I"m not posting that because I didn't KNOW it. That tenor player should take my comment as a HUGE compliment. Literally never cared for the guy, but this sure as hell works. Track 03 - Oddly, this track doesn't load into Apple Music for me, but I can play it in preview pane. Sax has a little Eddie Harris going for it, but the rest of it is like CTI mixed with that odd Trane 4tet recording of Nature Boy. I like it, but WHAT is going on here!?!? Now, that's GOT to be Eddie. Man, this is KILLIN'! Almost has the vibe of Joe McPhee's Nation Time. Love this. Track 04 - I mean, rhodes, that Guilherme Franco percussion vibe... I'm in . Man, this is bitching my brew. I mean, has to be Bennie Maupin, doesn't it? Well, that's Woody Shaw, so I'm probably on point with Guilherme Franco. Okay, another sleuth job. Under my radar so I'm not posting the answer, again, because I didn't *know* it. Not Maupin, but I'm still comfortable with what got me to that guess. Track 05 - I don't think I know this but it's lovely. Touches on some Mal Waldron feel at the end, but seems to lack that "thing" he has. Track 06 - Now, as many times as we've hung, we've never talked about stuff like this. Obviously Lockjaw. Ah! Jerome Richardson for sure, so this is from The Cookbook (one of them). JR works his butt off here, but man... that's Lockjaw. Track 07 - Something marchy about those drums. For sure I've heard this, but don't recall you playing it. Marchy + loose... Blackwell? Oh, wait. No. It's Air. Forget the track, but man, when I hear this, I sure hear Fred's influence on you. Man, Threadgill can write! Not to mention play. Really love his gritty tenor sound. Not an ounce of bullshit anywhere near this music. This is rapidly turning into one of my favorite BFTs. Track 08 - Not sure, but I love everything about it. Man, that interlude sounds like something else... Jesus this cooks! Second listen. Okay, that's definitely Harold Land. Third listen -- Rosolino, put the ranch on it. OH! CHRIST! Vic Feldman on Vibes! How dare you, sir! Track 09 - Okay, lots of piano, so it's gotta be the piano choir (because I'll eat my hat if that's not Cowell doing his Tatum impression). Man, this must have been something to see. AND they don't get in one another's way. Amazing stuff. Track 10 - I mean, it's Mal. Or is it. Could be Ibrahim, too. Now I'm thinking Embryo, so back to Mal. Hell, I give up. Track 11 - That opening vibe reeks of Ari Brown. Nope. Now you're just being difficult. Too commercial to be what I thought it was. Wait, that sure sounds like David Murray (because it is). What the hell IS this? Track 12 - Well, this escalated quickly. Heavily commercial featuring the unemployment stick. I mean, I don't hate it, but I could if pushed. Make that a bari, maybe a little John Surman, and I could be all in. I just loathe that flashy clarinet. Wait now, that could certainly be Sonny Sharrock, so I'm coming around. Yeah, if we can agree to blast the unemployment stick to another planet, I'll get onboard. Track 13 - Ominous. Then optimistic. Then slightly maudlin in a romantic vein. Okay, we need to pick a focus here. I'm warming to it to the point I want to like it, but... I just can't quite get to the vocalist. And the background... there's something that makes it feel like the Oscars' band. I just can't get to her. There's something almost Pharoah-ish about that sax player, so I'm thinking it's that Chicago guy that fools me and makes me think he's Pharoah. I see why you like it, but I just can't get fully onboard on this one -- it's the combination of the vocals and the poppy band behind it all. I'll never remember the guy's name I'm thinking of, but he was on a BFT within the past year and I didn't know him but you did.
  3. With apologies, Jim -- I've been in home improvement project hell for most of the month. If not for a text exchange with WebbCity today, I might have completely forgotten about this. Track 01 - Pretty straight forward stuff. Organ is VERY heavy in the mix, so I assume the leader. The tenor players time suggests Jimmy Heath, but it's a bigger sound on the laptop speakers, closer to Gator, but not him. Switching to ear buds to see if that helps. Hmmm... that's a little cleaner, but that organ is still WAY too bright. Love that fool-you ending. Drums are quite busy, but no idea who. Track 02 - I hope it's rooted in sarcasm. I was listening to The Nylons, who do a great cover of the song being borrowed, yesterday. Track 03 - Sure sounds like George Braith to me. Organ is prominent here, as well, but it works a bit better to my ear. Love the overall feel. Not particularly deep, but I don't care -- it makes me happy. Weird for me to say as a horn player, but the horn is the least appealing thing to me here. That rhythm section sets up a great feel, but I want more done with it. Track 04 - Dmitri from Paris? Can't say I love it, but it also kind of works. I was being cheeky with my original comment, but I'm going to go ahead and double down on it, because it's precisely the sort of thing DFP does. Hard to tell what's being sampled because they've tweaked the sound so much, but first impressions were Mulligan w/Brookmeyer. Track 05 - What my brain experiences internally whenever somebody puts on 80s cheeze metal like Foreigner or Def Leppard. Wait, I take that back. This is more serious than that, but not my thing. Mix this with Yoko and THAT'S what my brain experiences when being forced to sit through either of the aforementioned bands. Track 06 - Reminds me of Ahmed Abdul Malik's stuff on Prestige. I find it interesting, but I have to be in the right mood. I don't THINK this is that. Kind of loses me just before the 3 minute mark. No guesses other than NOT AAM. Track 07 - Voice sounds like Amiri Baraka. Perhaps the New York Art Quartet? Could be Roswell. Amiri sounds older here. Nope, that's sure sounds like young Shepp. Unsure, but I'm listening multiple times. Track 08 - Now, I know that vocalist. AND that tenor. Damn it. Oh, Christ! Of course. That's Sonny with Earl Coleman. I bought this when I was a kid for Ee-Ah, and even though I tended to not care for vocals (blame my old man), I always loved this. And MAN! I forgot how much Sonny is killin' it on this! Great pick! Can't say it's what I was expecting, which, I guess, is precisely what I was expecting! Thanks, Jim! Welp, after pawing through the comments, I guess I need to go back and dig out the New York Art Quartet recordings and lay ears on them, again. Re-listening to track 1. I would never have gotten the tune from this version, but I actually like what they did with it. Also, COMPLETELY concur with your assessment of Sonny's work on that track.
  4. WebbCity in November and Felser in December.
  5. Beautiful. Thanks, dudes.
  6. No worries -- I was asleep at the wheel on the thread. (That's a lie... I never sleep... I wait.) Updated the master list: Tim in October, Jim in November.
  7. Tim, Jim said "please," so I'd like to give him October, though you technically laid claim, first. Please advise.
  8. tkeith


    Guy definitely hears things his own way (and I mean that as a positive). Really something to see him live -- has a physical presence that cannot be ignored.
  9. tkeith


    Awfully quiet in here...
  10. tkeith


    Last entry on Page 1, bud. Long one.
  11. tkeith


    Track 01 - Barbados. Obvously J.J. Ah, okay. That's Elvin, so this is from Dial. "Respectable" band is putting mildly. Funny, when gleeful 14-year-old me told my friends I got to meet Tommy Flanagan, they just weren't that excited. I don't get it. It's interesting to hear Elvin *almost* rush the tempo on the fours section. He's him, but he's not HIM, yet. Track 02 - A tasteful arrangment of Moonlight In Vermont. I don't fully recognize this. Almost had me leaning Mal Waldron on the piano intro, but the rest of the fit is all wrong. It's clearly Lee Konitz, but that sounds like Giuffre's arranging. A little sleuthing turns up a YouTube link from a compilation with very little info, so I'll stop there. Track 03 - Tune is obvious (though I swear my vinyl copy called it "Miles". Snappy drums. Okay, I know these guys, but not together, and it's throwing me. Bassist is spending a lot of time in the middle range, but there's something about those strings that pinging and I can't find it. Drums have taken me from Shelly Manne to Philly Joe, but neither is there. Second listen: that Walter Bishop, early. That's clear, and I'm annoyed it took two listens. I've gotten no further on the sidemen without cheating, so I'll stop there. Track 04 - Where or When? Okay, at 3 minutes he can't hide anymore -- that's Lucky. Not sure the correct source, but I have it on the eponymous album, digitally. Can't explain why, but I just love that cover. Track 05 - I'm listening... That sure sounds like Andrew Hill's chord voicings. Not sure if I've got this one in the archives or not, but I know it's One For One. There will never be enough Andrew Hill. Track 06 - Obviously Walt Dickerson, just need to parse out who and what. Okay, Sun Ra, so it's Jazz Impressions of A Patch of Blue. Ah, yes, Bacon and Eggs. Track 07 - Huh! No you don't. This was available at Loony Tunes for $1.99, used, or $1.88 new. I bought the new. Originally from Now Is The Time, easily one of the most played records in my collection. Dick Griffin is highly underrated, particularly as a composer. He's also an incredibly nice person and provided me with one of the conversations I will cherish for the duration of my time on this planet. A failing of humanity that this is not more well known. Track 08 - Tune sounds like Spiritual. Tenor is not giving me the tell-tale IDs I'm looking for. Not Frank Lowe, which was where it seemed headed. I'm in full sleuth land and coming up with nothing. Did discover a Dwight Trible recording I need, but this isn't that. Voice reminds me of the guy on the Mwata Bowden's 1 Foot In-1 Foot Out. But it's not him. I'm perplexed. I should be able to get the tenor, but I'm not finding him. I is stumped. Track 09 - Man, I want this to be a lot of things it isn't, and it's getting to me. I want that to be Dave Holland, but it isn't. No, it HAS to be. Alright, deep dive into the interwebs, and I found it. Roy Haynes from Love Letters. I wanted to guess Sco, but figured it was my bias based on the test creator. Just listen, fool. It's CLEARLY Sco. At least my faith in the humanity of Dave Holland's sound is restored. Track 10 - You'll never believe it, but I had the song, composer from the first two notes. This version is from Water From An Ancient Well. I recall him telling Eric Jackson in an interview that he'd had a hit with this song. Eric assumed he was speaking hyperbolically; he was not. Really wish the world would discover his compositions. Track 11 - J-Griff fools no one. I know this from Live in Tokyo, but that version is much slower. This is earlier. I want it to be Abdul-Malik, but it's not. Not even sure if I have this, but one can never go wrong wtih Johnny Griffin. Track 12 - Not sold on the drummer. Has the feel of the South African stuff from the 60s/70s but this is newer. Feels like the drummer is out of element playing this constrained beat, and it makes it sound a little... not comical, but like a sitcom soundtrack. More so when the tenor comes in -- precisely why I dread rock gigs. Don't know the tenor. Gun to my head, I'd throw out a guess of Winston Ngozi, but I don't think it's him. That's Hugh Ragin. So, this has to be one of his things I'm less familiar with. That's Jaribu Shahid -- can't hide him once those syncopated lines around 5:10 start. I know he did a record with Craig Taborn's trio, so I assume this is that. I forget who the tenor is on that... Assif? This doesn't sound like him to me, but could be -- the song really has an out-of-context feel. Track 13 - Wait, I know the song, not the version. I'm going to guess later Ellington. That piano sounds like a beat up studio piano, though. But the harmonies on the crescendo really sound like later Ellington (piano doesn't, at all, though). Are you perhaps sneaking in a contemporary classical thing for all the reasons listed above? Track 14 - Obviously Johnny Hodges (and Woodyard). Not sure which of these records it is, but that's gotta be Jimmy Hamilton on tenor. Piano ALMOST sounds like Ellington, so I'll guess Strayhorn. Before Anatomy of a Murder, but not by much -- that's really what this reminds me of. Couple of surprises, couple of unknowns. Given that it began with, "You'll probably know 'em all," [no pressure], feel okay about this one. Tim always says the same thing and somehow, half of it is always a mystery. Change of Pace. Christ! How did I miss that?
  12. Half right -- I'm going to take the leftovers, but that guy needs to claim his month.
  13. Excellent!
  14. Yours, cap'n!
  15. Yours, sir.
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