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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. With apologies -- this month has sucked ass. It's pure guilt that's even got me to the point of fitting in a listen. [Also, Dan, didn't see your instructions until I went back to read the thread, and it won't add the tags for me in edit mode.] @Big Al -- This sounds like something else, but I can't figure out what. And it's overlaid with the music my grandmother used to have going on the radio ("Beautiful music, from the top of Mt. Washington..."), but way hipper. Tinkling pianist is familiar, but I can't quite get there. I'm enjoying the hell out of this (which is a feat, because I'm in an absolutely shit mood). It's fun, it's tasteful, and it's arranged without being overly so. Big All for the win! [edit: hint as to the type of week it's been -- three songs in I realized I was on shuffle... #fml] @Dan Gould -- This makes FAR more sense than what I THOUGHT was your track due to the shuffle issue. No idea what this is. It works, but mignt not be in my regular play stack. It's fun, but also serious enough to be, well, taken seriously. I'm positive it's someone I'm not overly familar with. Reminds me of Red Holloway. A single tune in this vein as part of a set would leave me smiling and wanting more. Two of them would leave me wishing it had been one. Plenty to like here, though. Growly alto is enjoying himself. Bass player may well be in a coma. @danasgoodstuff -- Something familiar about the song. Has a touch of that Ibrahim feel in it. A little new-agey, but not in an offensive way. I assume this is two pianists. @Dub Modal -- West coast recorded from down the hall? Chops to spare, but what on earth is going on with the sound. Not sure on the alto, but that trumpet could be Howard McGee. Can only give you a list of who the tenor is not. The sound is really off-putting. I've got headphones on and really don't feel comfortable even trying to guess on the players. Unfortunate. @Eric -- Musicianship is here in this one, but I just don't feel it. It's very technical to the point of sounding contrived. At about 0:40, sounds almost like Oliver Lake, but it doesn't have that level of hip. But for the nice sound, I might think this was Braxton. There's an intentional sparseness that reminds me of, of all things, a Wynton Marsalis record. Seems like inside guys (or at least contemporary traditional guys) trying to be 'out'. Not sure what to say other than, I'm just not buying it. @mjazzg -- This has a similar sense of intent that the last track had, but this works a whole lot better to my ear. Not sure what the stringed instrument is -- sounds like a plucked cello. I'm not in love with the sound, but what he's playing works, and the horns are providing just the right texture. This track is a keeper for sure. @randyhersom -- A-ha! You don't sneak Rahsaan by me! It's track 2 from this. Good stuff throughout. THIS is how you put a different spin on a rusty razor tune. @Rooster_Ties -- Heavy Bitches Brew influence. Wondered at first if it was from the extended set, but no. I like it, but I'm not sure how I feel about it. Feel like I should have a handle on who this is, and there are chops to spare, but it's also very honest. That description is troublesome, because it suggests I should know what this is. Alas, I do not. @sidewinder -- A Henderson-influenced tenor who I'm not familiar with. It's in 3, so I like it. Reminds me of Joe's stuff on Milestone. Drummer is very familiar -- like a cross between Billy Hart and DeJohnette. @webbcity -- It's got an air of Woody Shaw that makes me happy. Not Woody, but certainly a capable trumpeter. I've heard this. There's a little bit of... slop is too harsh a word... it's imperfect, and that's what is endearing about it. The musicianship is there, the story is there, but there's no sense that this has been practiced ad nauseam prior to recording it. There's something very honest about this. Then the tenor comes in. Sounds a bit like Lew Tabackin, but it's not up to what the previous players set up. Hints of David Murray in there, as well, but the execution isn't quite there for me. Piano puts it back on track. On the whole, the track is still a win. Wait, now, about the 5-minute mark, there's a couple of lines that lead me to believe this might just be John Hicks. Maybe not, but certainly from an adjacent school of thought. Funny part is, all of the above was written before I realized it was your track (due to the aforementioned shuffle issue). In hindsight, every word of this makes complete sense. This is kind of a neat exercise. Good call, Dan. Maybe this is just the think I needed to unf*** my week.
  2. Alright, I've been working this hard with absolutely NO thanks to tech support but HUGE thanks to Tim (webbcity). I'm going to go ahead and share the link here with this disclaimer: site is under construction. As of right now, I can see all the tracks in Firefox, Chrome, and on Safari on my phone. I canNOT see them in Safari on my computer, and Dan was unable to see them in either Edge or Chrome. So, welcome to beta-testing, friends. Feel free to give it a shot and let me know if it works or not. Probably best to do so via private message so as not to derail this thread. https://thomkeith.net/blindfold-tests/current-tests/
  3. Please - be patient. My site is down and files were lost. They are attempting to reload a back from Feb 7 so they can troubleshoot. I have no idea how long this is going to take or what the end result would be. I can do sweet f***-all about it, and I'm at the mercy of a call center in India.
  4. If anybody is listening online, it may have been unavailable for a bit. My site did not auto-renew (JustHost is really great a screwing up the renewal). I upgraded services, so I cannot guarantee that there will not be hiccups. If there are, please message me directly through the forum, and I'll get it sorted ASAP.
  5. Great idea. But I challenge you to NOT alienate Felser with the compensation pick!
  6. Sounds like a terrible idea. I'll drive.
  7. Hey, Percy Faith has gotten me a happy ending more than once.
  8. Track 12 - Can't be what it sounds like to me. "Nothing you can do can tear me away from my guy." Jug-adjacent tenor, with what sounds like a lesser rhythm section. Is this one of your Percy Faith inclusions? I assume you meant to type Percy France as I wouldn't know where to begin in my extensive Percy Faith section of the stacks. This song was a major hit for Nat Cole 12 years before "My Guy". Saw that and fixed it, but you must've got there before I did. I think my fingers got ahead of my brain on that one -- it happens.
  9. I gave this an early spin b/c I'll be away this week. The Venn diagram of overlap between Dan and I fits nicely, the other parts, less so. So, it's a Dan test. Track 01 - I'm taken back to watching the Pink Panther cartoons as a kid. Not necessarily the pink panther himself, but one of the Inspector cartoons. Mongo? Got a good feel (though that pianist doesn't do it for me). Scat is hit or miss for me, and this is a bit of both. I don't think it's Hendricks, but there's no denying the influence. Doesn't quite seem up to his level of technique, but still mostly works. Not the heaviest ride, but about perfect for cooking. Track 02 - Now THAT is some bad sound. Hard enough to say much in four bars, but to replace solos with that format is something that should be reserved for very particular settings. Fortunately, no one here has a helluva lot to say to my ear. Trumpet saves it a bit with a good solo. The second fours section still doesn't excite me, but it's more musical than the first. Maybe Dale Fielder on bari? Seems older than that. No idea on the other sax players, though the alto is the one who catches my ear the most. Track 03 - Welp, there's the Concord sound. Sure feels like Mraz on bass. Not sure on the horns, but this is definitely the neighborhood that puts me in contact with you. #TeamFelser Oh joy! The unemployment stick. Not sure who the snake charmer is, but what he's playing does NOT fit the feel. No thanks. Trumpet settles into the pocket nicely, and is familiar. The horns behind the solo are the highlight of this. A lot of flash to that trumpet, but I don't think it's Freddie. Could be Randy Brecker, but seems a bit more versed in the music than Randy. Track 04 - How to play two standards without paying royalties. No tune in this genre is complete without a quote of Stranger In Paradise. Has a bit of that Gator edge, but not Gator. Obviously, I much like this tenor. Not getting a huge impression from the rhythm section, but neither are they in the way. Okay, this is fun. This dude is a little nuts and I like it. Nitpicky, but I didn't need the Coltrane entry into the trade-off section. Otherwise works. I assume this is someone I know but not super well. Track 05 - I like the feel, though it's not the players I want it to be. These are "newer" guys (because I'm a fossil). I was hoping for John Hicks, but it's not. It all works, and it's enjoyable. I should know this tune name, but I don't. Sounds like one of those Wynton-adjacent guys from the 80s (the guys who had a touch of soul and got no credit like Blanchard, Marlon Jordan or the like. It kind of unravels in the fours section. They don't lose it, I just don't hear the music in it. And can we NOT throw in cutesy quotes on the piano, please? This is from the era where I sort of went to sleep on "new" music, because it wasn't that. Track 06 - And this, is NOT that. Nothing outrageous, just swings its ass off. Sure has that Percy Heath feel in the bass. Unsure on the bari -- only certainty is who it isn't. This is the keeper track thus far. Track 07 - Bland shuffle and a grating organ. Nope. Trombone sells it, but he's got to work extra hard. Absolutely recoil from this drummer/organist. Track 08 - Now's The Time. Sounds like Buddy Tate (sound), but execution isn't quite there. Older Buddy? Can't think of another shouter who cooks like that. Okay, yeah, no question, that's Buddy. Subtlety of a firetruck! Gotta love it -- such a beast! Seems crazy, but I have no clue on the other horns. It works, but I can't get a read on either of them. What am I listening to? Who cares? Give me more Buddy! Track 09 - One of my favorite Parker tunes, which I know is weird. It's just so damned infectious. Junior Cook on tenor. Has that muse sound. Not Woody. Bill Hardman? Okay. I was leaning towards Al Foster and curiosity got the best of me and it's right here on my laptop. It's side B, track 2 from this. Track 10 - Almost said Hot House, but no, it's Groovin' High. Never can keep the bop titles straight. Don't recognize the alto, but he's for real. Maybe not out of that top tier, but this guy is a bad MF. At this point, I'd just put my horn away -- I'll sit in another night. Not sure the rest of the band is the same era. Sound is horrid, but something about that piano just doesn't sit right with me. Very busy, but something isn't quite in sync to me. I know him, and it's a common reaction, which is where the recognition is coming from. Not Hilton Ruiz, but a close neighborhood. Oh, Jesus. This cat is NUTS! (alto) Who IS this!? Completely unique player, but completely respectful to what he's playing. Suggests a guy from the hay-day. So, who is slightly off Main St., but can play like that. Bill Barron's neighborhood, if you know what I mean. Track 11 - Okay, so we're heading down a particular path, I see. Actually prefer this tune around this tempo. Johnny Griffin did everythink you can do at breakneck tempo on this and it should be put to bed at that tempo. This works just fine. Musical, swings, and is tasteful. Strange sound. Piano seems disconnected from the bass (soundwise), but bass is crystal clear. To be fair, listening on the TV surround via bluetooth, but still, bass seems to be far more clear than the piano. The only thing I know for certain is, I don't know who the pianist is. A lot to enjoy here. Track 12 - Can't be what it sounds like to me. "Nothing you can do can tear me away from my guy." Jug-adjacent tenor, with what sounds like a lesser rhythm section. Is this one of your Percy France inclusions? Track 13 - Tune is obvious. Players less so. As it wraps, I'm still in that spot. I can only guarantee who it is not. A lot of stuff I don't know and a couple of real killing tracks. Can't bitch about that.
  10. Alright, I blocked both months out to split the test. I think that makes sense given the response, and since we STILL have a remaining open slot (September) after I claimed July, I don't feel like we're pushing anyone off.
  11. You know, I get it, but given some of the stuff that goes completely in the opposite direction in the tests of others, I don't think you need to tone any of it down. We're allowed varied tastes, and participation is a choice. But that's my 2¢. Sngry2024
  12. I'm accustomed to doing my thing, but realize it couldn't hurt to have a blurb about process. Stream-of-onsciience comments on the first listen, no peaking. If I listen more than once, I'll say so. Track 01 - It's too late, she's gone too far, she's lost the sun... she's come undone. I'm sure my chronology is backwards, but I can't unhear it. Gets serious mileage out of the most basic formula. No idea what I'm listening to, but no complaints. Track 02 - Not an Elvin project, but the owe him a tip of the cap. Absolutely nothing wrong with it musically, but the tenor is living precisely in the neighborhood that turns me off these days. All the note are right, but I'm not getting the story. Amazing technician, but I liken him to reliever Joe "Fight Club" Kelly. Yeah, you had the hardest fastball in the majors for several years, but if you took a little off, you were much more effective. The tenor player has put many hours into the craft to get to a certain point (focusing on technique). Now walk away from the practice room, forget all that, and tell me a story. PLEASE! Keys were there but didn't make a huge impression. Trumpet saves this for me. Same chops as the tenor, but far more musical to my ear. Drummer is busy doing the Elvin thing, but it works. Maybe Blade? Kiermayer? Wait, a band where the guitarist has the least ego? Actually my favorite of the group, which is rare. I sniff a Martino flavor here. So, clearly the tenor's date, as s/he/s hogging the solo time. I'd rather have heard more of the trumpet and guitar. Again, everything is 'correct', I just don't care. Good tune, though! Track 03 - Maybe Khan Jamal. I like the ragtag feel of the rhythm section, and the odd vibes sound. Not entirely in love with the alto (or, at all). Kind of a James Spaulding sound with a Braxton-ish approach to rhythm, which is always a turn off for me. It's got an honest feel, though. Brutish tenor continues that trend. Kind of feel like this is guys just off my radar. It's close, but missing a bit too much of the blues to warm my belly. Though, I confess to being an old fart in such matters. Bari was my preferred solo, then tenor, but the quirky nature of the tune prevents me from completely getting there. Track 04 - I've just realized the majority of this song passed without impression. No idea who it is, but it's in that contemporary category that just doesn't grab my attention. Nothing wrong with it, just didn't make me care. Track 05 - I mean, 3/4, poppy late-60s/early-70s hippie feel -- I'm *SO* in. Track 06 - These last two are right in the wheelhouse of Felser that I was anticipating. There's nothing to NOT like here. Tune, vamp, feel, it's all here. Punchy alto. Not a first-tier player, but it's honest and the player is working hard. I'll take it. If the tenor on the second track had done this, I'd have been all in. This player is a notch beneath #2 technically, but this solo just works. Musical, logical, interesting, and I feel a story. Carter Jefferson's neighborhood, but not his house. Pianist sounds like a poor man's Harold Mabern, which is to say, I like him (or her). Track 07 - Not out, but slightly off the beaten path. Like a cross between Bill Barron and a later Mingus project. Alright, I was going to say NOT Don Pullen, but as that's clearly George Adams, we'll go with Don Pullen and, despite the fact that I'm having trouble hearing the bass, I'll say it's a later Mingus project. I haven't dug out Changes One & Two in years, but it could be from that. Track 08 - Uhm, yes please. More of this, all the time. Had to rewind after the melody. This is a Tolliver tune, is it not? Explains why I'm instantly in love with it, if so. So, that could be Hutch. This is not the version I'm acquainted with. I think the version I know is from one of those Arista/Freedome albums with the pink cover. Paper Man or The Ringer. LOVE the drums on this. That could well be Jimmy Hopps. Sure sounds like Charles. Very in your kitchen (in a good way). LOVE that guy. SWAGGER! But with purpose. Joe, with a purpose of his own. MUCH swagger here. That piano sound suggests this is perhaps a Strata-East date. Track 09 - Hang on, I have to tie my roller skates. It's a pleasant enough feel, but nothing that makes it stand out. I'd probably have more love for it without the vocals. Rock-side band crossing over? Track 10 - Love right off the bat. Really a lot to love about this feel. Open chords and relentless, energetic drums. Tenor doesn't go freak out, instead locking into that vibe, maybe a little shy of what's been set up, but it works. I respect the struggle of the tenor. Like the technique is just a tick off from what he's hearing and he's (or she's) fighting for it. Personally, I appreciate the struggle. If track 2 had this energy, it would have been right in the wheelhouse. This is honest, real and gets its point across for me. Feel like I should probably know the tenor. Track 11 - Guessing this is the same band as one of the other tracks... track 5 or track 9. There's attitude in her voice, and I love it. This is what I WANTED pop radio to be when I was a kid. A little Purdie Shuffle never hurt anyone. Track 12 - Cerebral piano went in a different direction than I expected. A bit too far in the funk direction for my preference, but certainly works. Reminds me of that Roy Haynes band with George Adams, but seems a bit more toward the commercial side. Okay, now I'm messing with myself. I was going to comment that the keys reminded me of a Nat Adderley recording I had with Onaje Allan Gumbs. I'm thinking this may actually be that record. A good listen, if a bit less life-altering than past Felser BFTs.
  13. Mark me down for one, too, please. I like the idea of a time limit for the track. The longer tracks can be saved for one's own BFT.
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