tkeith

Reminder, we still need presenters for October and November. I'm not opening up sign-ups for 2027 until 2026 is full.

I hadn't either. My pops was telling me about this store nearby he's been going to. Basically on what we call Antique Alley (a stretch lousy with antique shops). Guy buys whole collections and I was perusing some of what he had and came across this one. Can't argue with the cast! Correct, again, sir! I was hipped to this one by webbcity. Bam!

Your ears are spot on with both players. Neither is the leader. It is Vierd Blues, but I wouldn't describe either guy as "less straight ahead". Both well known players. Ding! Ding! Negative, but again, I think the player would greatly enjoy the comparison. I'd bet none of the musicians would be upset with these comparisons. This one is one of the toughest in the test. Indeed. Yeah, I screwed the pooch and didn't clip the introductions at the end. Knew they were there, just had a colossal brain fart. She's different. When she plays with this band, she's not up front, she's off to the side like another horn. Understood. There's a story with this one, and I could have shortened it, but... all will come out in the reveal.

With apologies, I didn't get a notification about this post. This album was a bit of a discovery with an odd story. It is, indeed, Pepper Adams, but not Hank. A LOT of people like this trumpet player's sound. All of that tracks. Again, I agree with all of this, and the pianist? It is with good reason that you prefer this cut. Not Higgins, but your ears are right on target. ID'd earlier. I think Houston would be okay with this comparison, but not him. A guitar played by someone who typically plays another instrument? Nice story behind this one. Both horns are semi-deep-cuts, but names people may well know. The drummer is likely the most well known player, here. Yeah, I screwed the pooch on that one. DO see this band if you ever have the opportunity. ID'd earlier. There are clues for this one later in the month, but we'll see if nature takes its course. Fair. There are three horns here, incidentally. One of the baris switches to soprano later in the tune. Pepper - yes, Hank - no. Pianist is probably a bit more recognized than Hank in most circles. Also, a heads up, I'll be off the computer until Monday, so please be patient on responses.

Correct! Puns are the highest form of humor and don't ever let anyone tell you differently! Logic is correct, but would you care to use your Mulligan on this one? It is not, but there is logic behind one of those choices. ID'd by cayetano. Not messengers, but I hear how you got there. Another ID'd by cayetano, doing his best Sangry impersonation. (There be EARS on this hear thread!) This guy wishes. Not Cecil. Drummer is influenced by both, but it is neither. There IS a Butch Warren connection. Ding! Ding! Crap. I meant to edit that. I guess this one's a gimme. Happy thoughts, but neither. Stop me if you've heard this before, ID'd by cayetano Nay. I am certain all involved would be thrilled by the comparison. Correct on both counts!

You may. Not Don, but I'm certain the player would appreciate the comparison. Not Bluiett, not Leroy. The vocalist is a TREAT to see live. No, but there IS a connection. Vocalist did not write the lyrics. I agree, but there is a reason this one was included. Not one of the gimmes, but we should definitely hang. Correct, sir! Correct! Not his date, though. Mmmm... I'm betting you would on repeated listening. Correct, sir!

Oh, no -- pretty sure there's a couple of bones in there for you. But there's also one or two that will, in fact, have you on the ledge, too.

This one is kind of all over the place -- whatever hit me in the moment along with a couple that I'd made note of this past year. There's a couple of gimmes, a couple of no ways, and certainly ample material to make Dan cringe. https://thomkeith.net/2026-organissimo-blindfold-tests/

My how it's gotten late in the month! track 01 - A puccled take on Straight, No Chaser. Guessing later Lacy. Doesn't seem to have the clean attack of Lacy, but that tone seems spot on. Valve trombone? A tenor I don't recognize. A little sleuthing suggests that it's this. Aggressive clarinet that I don't recognize. Like, don't love. 3.5/5 track 02 - Kind of a rag-tag feel to the rhythm section, and I love it (and, of course, it's in three). This is what I WANTED to hear in soundtracks. It's got that feel of a cool TV show, but it's WAY hipper than that. Tenor reminds me of the guy who was in Ginger Baker's quintet in Colorado. Just off of main street, but acquitting himself well. Guessing this is a European band because I don't recognize them, but they all play well. Piano player seems to occupy the same neighborhood as the tenor. Probably THE regional band from where they originate. That's not a shot. We need people more exposed to stuff like this that is going on, because it's worthy of a listen, even if it's not going to knock Monk off your turntable. I really like the arrangement because it does what it needs to without getting overly pedantic. Shades of Lalo shaking hands with Hefti. 3.5/5 track 03 - Latin in 5, makes me think it might be a Jerry Gonzalez project. Trumpet seems mellower than JG. Don't recognize the alto, but that just means he's under 80 years old. On the outchorus, tune reminds me a bit of Roswell Rudd's Bamako. Really like this. 3.75/5 track 04 - Something decidedly Muse like about this (which puts it right next to my wheel house). Maybe Rene McLean on alto. No. Too edgy, that's gotta be Papa. Maybe Harold Mabern on piano (if not, they owe royalties). Gotta be Michael Carvin on drums -- excitable boy! Okay, there's Rene on tenor. I don't have this, which is absurd. I shall need to address that. Not new ground being broken, but one thing you're guaranteed with Jackie -- NO bullshit. 4/5 track 05 - You had me at the bass. A bit mathier than I like. Right channel sounds like Bunky Green. Hard, but serious. Left channel sounds like a hard player like Sonny Fortune, but lacks Sonny's gut. That's later Bunky, for sure. Another guy who did NOT f*** around. Not feeling the piano solo, at all. Very Mehldau. Maybe Steve Lehman in the left channel. Somebody out of that Steve Coleman neighborhood that I don't hear at all. Guy plays his ass off, but I just don't care. By six minutes, I've completely tuned out. The machine in the left channel is an amazing technician. Next time I need to program an app, I'll look him up. A begrudging 3.5/5 track 06 - This is somewhere between the last two tracks. I like it much better than #5, but not quite as much as #4. Later than Muse, but the same spirit. Sounds too new, but that sure sounds like Carter Jefferson on tenor. Ah, but it is, because that's Larry Willis (HIGHLY underrated composer!) on piano. Gotta listen again, because that wasn't Woody on trumpet, but all else is in place. No idea on the bassist, only who it's not. [2nd listen] Man... I dunno. Feels like a broken record here, but given the style and the edge on the trumpet, I gotta guess Jerry Gonzalez (but it feels wrong to do so). Feel like I just walked into the Seinfeld cigar-store-Indian episode. I'll commit and say Jerry. Man, I love what Larry does. 4/5 track 07 - So, my gut said McCoy off the bat, but I didn't think you'd go HERE! Welcome. At the gathering after a family funeral, my beloved cousin Al (a beautiful mess) said to my father, "You know what would be perfect right now? Coltrane's Welcome in the background." [For the audience of three that was my Dad, Al and myself, this would have been great, but not for the rest.] Dad replied, "You really want everyone to leave, huh?" This is one of THE great recordings. It's ALL here if you're willing to receive it. Epic (but where you gonna go from HERE!?!?!). 100100000000/5 track 08 - Feels like Tomasz Stanko, but even edgier. I have quite a bit of his stuff and don't recognize this. Man, this is HARD (like Bunky Green). Dark and edgy. It's not fireworks, but there's an edge to this that leaves me feeling like I've been punched in the mouth, and I like it. A lot of listening and responding, and zero bullshit. 4.5/5 track 09 - Got that Indian overtone, but that sure sounds like Arthur Blythe. Yep, it is, no doubt. Possible that I have this, but I don't recognize it. 3.5/5 track 10 - LOVE this. Tenor is so friggin' personal. It's there, but I can't grab the ID, yet. This is a tight band (in a good way). Almost something Pharoah-ish, but the tone is cleaner. Not a thing out of place here. Almost getting a Patience Higgins vibe, but this sounds earlier. I love this rhythm section. Drummer is very familiar but I can't quite put my finger on him. A little like Billy Hart, but more deliberate. Like comparing Mal Waldron to another piano player. Huh. Maybe Eddie Moore? The more I hear it, the more I like him as the drummer. Bassist is good, but I'm not getting a feel for the ID. OH! That's Dewey! Of course! 4/5 Cool test with lots of different stuff. A lot of this feels pretty close to my happy place. Thanks for the listen!

I'm taking September. I think Randy is going to fill in for August. We STILL need October and November.

PTI I've got to thank Lester Mobley for stepping up on July. We *STILL* need presenters for 3 of the next four months (I'll take one of them, but August is the worst fit of the four for me). Any takers? Any ideas?

We *still* have the next four months open for presenters. I'll take one of them, but August is the worst option for me of the four.

Really enjoyed this one. Full disclosure, I listened to it a couple of days ahead but sat on it until now. track 01 - Barbados, but I'm a little behind on my ability to ID piccolo players. Maybe George Mraz on bass? Okay now that's sound more like flute. That, unfortunately does not assist me. I think that's a saxophonist playing the flute -- has that strong wind support most sax players have on flute. Obvious guess would be Jerome Richardson, but I don't think so. Midway through the piano solo, I've decided I don't know these players. It's a nice track, though. 3.5/5 track 02 - Moon Alley? Nope. Weird guess on those drums (it's kind of a compressed recording), but those hits coming out of the head have me thinking Vernell Fournier. A little Hannah in that piano, but it's not him. No question that's Vernell. I know this trumpet... not Oscar Brashear, but maybe adjacent. Okay, that's Clifford Jordan, which more than confirms Fournier. Could be Roy Burrowes on trumpet... or maybe Jimmy Owens. So hard to concentrate with Clifford doing his thing. Absolute disgrace that that guy is not a household name. Like the bass, but no read on him. Real nice track. 4.5/5 track 03 - Richard Rodgers with his lesser (IMHO) lyricist partner. Someone likes Bill Evans a lot (there's a club for that -- we meet at the bar at 4:30). Thinking this is newer (90s or later). Got that uber compressed studio recording sound. Nice version of the tune, though, avoiding the Coltrane orbit altogether (no easy task). Man... that sounds like Mraz, again. No real guess on the drummer b/c of the modern recording (mic'ing every square inch of the kit). Maybe somebody from Victor Lewis' neighborhood? 3.5/5 track 04 - Really thought this was going to head in the direction of Every Time We Say Goodbye. Wait, I know that guy. That's Handy. Track A2 from this. The world needs more John Handy. 4/5 track 05 - I know this. Bold tenor, aggressive. 70s? Got that Woody Shaw thing happening. Aggressive drummer swinging his ass off, but with taste. Okay, that's Bartz, who fools no one. Such a bad MF. AH! Got it. I saw this drummer do this live w/Abraham Burton who is NOT here (because he was a child). Tolliver (my personal fave). On second listen, that's Stubblefield on tenor. Consulting the stacks, I see that it's track A1 from this. 4.5/5 track 06 - Alright, that's a Monk tune... I can never keep his title's straight. It's something from the deeper dive of his work, though, not a Real Book tune. Different take on the tune, for sure. They're not letting the odd duo setting get in the way of the music, just playing the tune. I may know these players, but nothing is striking me hard about the saxophone. Can only list who it isn't. 3.5/5 track 07 - Weird. Got a vibe to it, but it's equal parts Track 2 and ECM. Weird. Can't say I'm overly fond of the composition. A little too forced to my ear. Same for the tenor solo. Got that lilting "smooth" grace note thing. Don Braden does that a lot, but this isn't him. Dude can play, I'm not just in love with what he's doing. Just when it feels like he's going to dig in, he goes into one of those Lovano-isms, instead. Nothing "wrong" with it, but it might benefit from a little more "wrong". Paul Smoker? John McNeil? Somebody like that. The strummy bass gives it almost an acid rock feel, but the lilting head doesn't quite complement the groove. I mean, it *almost* sounds like something Nat Adderley would have done in the '70's, but it's missing THAT thing. 3/5 track 08 - Late 50s/early 60s. Wait, that's J.R. Monterose on tenor. I'm not recognizing this, but if it's J.R., I'm sure I've got this. Odd piano solo. Almost stabbing at the ideas, but doesn't really seem to tie them together. That seems like it might be a clue, but if so, it's one that's evading me. No clue on the 'bone. Valve 'bone, maybe? 4/5 track 09 - Soul Eyes, but I barely recognized it from the intro. Don't care for the loungie, Latin feel on this tune. Solid pianist. Guessing maybe the drummer's record as the percussion is very forward in the recording. Perhaps a live recording? Something is strange about this recording. I might have gone 4 out of 5, but I don't like what they did to Mal's tune (and I LOVE Mal Waldron). However, WHAT they did stands fine on its own (yes, I know, I'm a curmudgeon). Not live, just an odd recording, soundwise. 3.5/5 track 10 - Okay, that's Pepper Adams and no other. How Deep Is The Ocean. My word... Pepper is just so *that*! Okay, didn't see that coming. Never a big fan of the tune, but this works on every level. That piano! Only knock I can find is this is clealry after Pepper switched to synthetic reeds, because it's missing the warmth in the low end of his playing. Not Martino, and I can't recall a ton of guitarists that Pepper worked with. That's Billy Hart on drums. He's got that... it's almost a hesitation, but it's so him. Oh! No wonder I liked the piano, that's John Hicks, for sure. Man! What a friggin' band! Hicks is like the UN-Mal Waldron, but they are two of my favorites for sure (though I'd rank Hicks as my all-time favorite). This works on every level. 4.5/5 track 11 - Serenata. I don't care for what's happening with the rhythm here, at all. A conservatory guy showing us how fast he can play. Impressive musicianship, but I'm not hearing the story. This pace calls for my Chuck Berry comment ["I have no kick against modern jazz, unless they try to play it to darn fast, and change the beauty of the melody, until it sounds just like a sympony."). It's too fast to maintain my interest. This is a Sativa cut; I'm more an Indica man. I warmed up to it a bit during the extended Coda (when they chilled out a bit), but this is another horn playing doing the smooth-jazz grace note thing. Not a fan of that. 3/5 track 12 - Getting a Pullen vibe here in the early going. Nice groove setting up. Ah! The Pullen vibe is because it's Adams/Pullen (Richmond/Brown). Don't know which song title, but this is not one of the Timeless recordings, and sounds too clean to be one of the Blue Notes, so the Soul Note years. Don't Lose Control? Lots of goodness to be had in this one, thanks!

With apologies for being a schlep and letting this sit for three weeks. Been that kinda month. Bookends of this test hit nicely for me. The middle went into a neighborhood I wasn't in love with, but that's because I'm a curmudgeon. track 01 - Body And Soul, obviously. Sure sounds like Charles Lloyd, despite the questionable recording. The tone has me questioning that, but those flourishes sure sound like Charles. When I saw him a few years back, I was surprised he was still playing this aggressively. Okay, so I stand corrected, that’s Sam Rivers. Sam has probably fooled me more than any other person in BFTs over the years, and I consider myself a fan. C’est la vie. 4/5 track 02 - Speak Low. Been meaning to work on this one… and, well, have not. I like this a lot. Can’t quite put my finger on the sound, but it’s familiar. Definite Dexter influence, but a more modern approach. Someone in the realm of Chico or Rene McLean, but seems more personal than the latter. Pretty sure it’s not Chico, but a VERY solid tenor voice, nonetheless. Meh, don’t care for the trade with the drummer, just… why this song? I’ve got no guesses. Even with the drum/sax trade that didn’t work for me, this is a keeper. 4/5 track 03 - Very dense arrangement and an engineer with a heavy gain knob. Woody Shaw influence on the composition. Maybe Slide? Tenor tone has me thinking Junior Cook, but seems like too much of a Coltrane influence on the lines. I’ll hedge bets and say Junior, anyway, but it feels wrong. 3.5/5 track 04 - No clue, only know who it’s not. Not Fred Ho, not Lauren Sevian. Sounds like a later bebop influenced guy. Drums are awfully busy. Bari sound is… not sure how to describe it. Perhaps a doubler? Dude can play, but I don’t recognize the tone. It’s good, but not leaving a lasting impression. Drummer needs decaf (or maybe don’t mic every inch of the GD kit!). Recording is very brash to my ear (and I’m listening on the studio monitors, which are set dead flat). 3/5 track 05 - Shorter-influenced composition, but much later than that. Another recording with heavy gain — actually turned the monitors down a bit. Sounds a bit like one of the guys from the last BFT, Noah Preminger, but way more of that Bergonzi influence. Nothing wrong with it, but not my bag. Trumpet hits me as much more personal. Overall, feels a bit cold (ECM-ish) to me. 3/5 track 06 - Guessing a newer (post 1990) band, but certainly has ties to another time. Again, has the feel of one of those Junior Cook Timeless/Muse dates. Huh… almost a nod to Shepp here on tenor, but not him. Perhaps another multi-horn saxophonist. Something about that vibrato has me thinking this is an older guy, which ties in with the tie to another time that I’m hearing. Like Billy Pierce and Shepp had a child, but so personal as to make that description sound unfair. Time is similar to Ricky Ford, but the tone is wrong. I like this in an odd way of something that seems maybe past-prime, but still worth the time. 3.5/5 track 07 - At first had an Abdullah Ibrahim vibe, but it’s more heady than that. Hmmm… I think I may have this. That tenor sure sounds like Matt Langley, and that bari could sure be Charlie Kohlhase. The writing could certainly be Charlie. In fact, it HAS to be. Don’t have time to dig into my collection right this second. Yes, that’s Langley, no doubt about it. If you ever have the chance to catch Charlie Kohlhase Explorers Club, do that — you will NOT be disappointed. Langley, for sure. Miss this guy being in the area. track 08 - That drum rhythm is emblematic of what the younger bands around here were doing about 10-15 years ago. I liked it at the time because it was different and there were a few bands doing it. Then it became the norm, and I kind of fell out of love with it. This is good within that realm, but it’s not leaving me a lasting impression. Getting nada from the keys. Live I’d probably be onboard, but this one just doesn’t give me the feels. No clue on the guitarist. I can only tell you who it isn’t on bari. It’s not Alex Harding, but I really wish it was. 2.5/5 track 09 - First impressions are an Avashai Cohen vibe. Feels pretty clean (again, not hitting me in the feels). Okay, that’s Dave Binney, which makes the previous sentence par for the course. When I first heard him, I absolutely loved it, but as time went on, his stuff just doesn’t stick with me. This feels too new agey for my taste. [Get off my lawn!] Maybe Ben Monder? 3/5 track 10 - Definitely a familiar sound on the trumpet, but from a generation that is not prevalent in my collection. If that’s not Gary Bartz, somebody owes him a ton of royalties. Yeah, that’s Gary. Guessing 90s. Gary had a very clean thing going during that time with a lot of guest spots. I like him a bit greasier. Trumpet almost sounds like Eddie Henderson, but… I’ll get crucified for this, maybe a bit more feminine? Odd that Gary is not my favorite part of a cut, but that’s the case here. Weird guess, but maybe Ben Waltzer on piano? 4/5 (3.5/5 for Gary’s part) track 11 - Composition is too mathy for me. Impressive level of musicianship and composing, but not my bag. More head than heart. Like the bass a lot, but in general, the impressive level of musicianship isn’t enough to make me care. A lot of Steve Coleman’s stuff hits me like this. Huh… and I’ll bet my hat that’s him right there. Amazing musician, I just don’t why he does THIS all the time. [Get off my LAWN!] Is this one of the Strata Institute things? 2/5 (but I’d go 4/5 for the bass) track 12 - Now this is more my thing. Has that feel of Frank Foster’s small bands. In fact, the feel of this tune is just like Charles Tolliver’s Paper Man (with Bartz). A very George Coleman-ish tenor (but not him). Perhaps one of his proteges? For a moment, this alto almost sounded like Frank Strozier. I’m not aware of anyone sounding close to him, but this player is awfully damned close. A bit of an ass-shaker, but it works for me. Maybe Larry Willis on piano? I mean, it’s really basically Song For My Father, but it works. Second listen and that tenor could almost be Vick on a REALLY good day. ALMOST getting a Harold Mabern vibe from the piano. Wondering if this could be a later Horace date I’m not familiar with. 4+/5 Definitely piqued my curiosity on the bookends. Thanks! **after reading the thread** Well, shit. Need to stop doubting myself on what my ears are telling me, I guess. 😕

Pardon the interruption: We still need someone to host the July test.

Wild! Two of my bud's study with Noah. Fascinating. Shame on me not getting Red Mitchell. Almost guessed Mickey. Oof. Criticizing Norvo's time... I may have to go to confession. This was a really good BFT.

With apologies, Ken, I hadn't intended to let this sit all month, but the month was way busier than I expected. A lot to like in this one, thanks! Track 1 - Sounds like Lovano on tenor to me. Smoke Gets In Your Eyes. Maybe a bit cleaner tone. If not Joe, someone who likes Joe a bunch. No idea on the guitar. Nicely done. Doesn't feel tributary, and they are playing the song. I like this. 4/5 Track 2 - That's Dickerson, no doubt. Ah, yes. The B-side of this. Not a lost moment on this whole album. This guy (really this whole band) could do no wrong. All the stars/5 Track 3 - Not sure who it is, but the tune is Groove Yard. I like Wes, too. Whomever this is, they're not shaming themselves. Bass is REAL nice. 3.5/5 Track 4 - Not sure. Not getting a real positive ID on the trumpet, but this is definitely OF the generation. That sounds like Gigi, but the trumpet was not Art Farmer. Loving the rhythm section, particularly piano and drums. Snappy without rushing. Not Dave Bailey, but similar. Cookin'! 4/5 Track 5 - Wayne Shorter's Infant Eyes. I don't the player. Interesting instrumentation. Bassist is really tuned in, really giving this a backbone. I like it, but not sure it really gets its feet under it. 3/5 Track 6 - April In Paris in a manor I'm not sure I needed. No idea who. Kind of background to my ear. 3/5 Track 7 - Okay, two listens, but that's GOT to be Bud Freeman. Not sure of the RS, but I'm liking. They're a bit more modern than Bud, but there's no mistaking him. Nice choice. 3.5/5 Track 8 - Nice woody, angry clarinet. No idea who. Not my area of the genre, but this works. 3.5/5 Track 9 - Odd vibes sound. Sounds almost like steel drums. Sounds like the tempo has him right near his edge. Not the case with the piano. Wait a minute, that's Hank Jones. No idea what this is, but that's Hank for sure. Recording sounds like a Concord job. Can't hear the bass well on the laptop, but he's right there. If it IS Concord, good bet it's Ray Brown, because the time is spot on. 3.5/5 (4 without the vibes; something in the rhythmic feel on the solo didn't hit for me.) Track 10 - Au Privave. No idea on the band. Tough tune at any tempo, but the low brass are definitely requiring this tempo. Almost a country sound to that guitar. Not sure I'm digging the brass-only lineup. That's a tricky sound to pull off (particularly when the audience is a sax player!). 2.5/5 Track 11 - Horace Silver tune. Summer In Central Park. Took me a minute. Been diving into Horace a bit lately. I was going to say Roland Hanna on piano, but now that I hear Richard Davis, that's absolutely correct. We had this at the radio station when I was in College (all the DIW stuff). Very nice. 4/5 Track 12 - Ah! The Snapper. This was called not too long ago at a jam session, a kid about 20 playing some BAD (as in bad ass!) trumpet. This is the composer, Clark Terry. Not sure which version. Unnh! Almost Ammons-esque. Strong tenor! Ah! Of course. That's Red Holloway. BEAST MODE! At his best, he's like a sane Johnny Griffin (as here). Love it. Younger drummer. Good, but very clean. I blame engineers for getting the drum sound TOO clean. 4/5 Track 13 - But Beautiful. That's definitely two guitars, but is one of them tuned down to play the bass part or is there actually a bass there? Nicely done. Mayhaps one is Jim Hall? 4/5 Track 14 - SHEPP!!!!! First track from this. Another record with not a single lost moment. 5/5 Track 15 - Nice tune. Clean recording. Good players. Not to the bar of the last cut. Younger tenor (which, I suppose these days is anyone under 60 to me). Alright, that's Bobby. Not Joe Chambers. Not sure on the piano. Was thinking Larry Willis at first, but this guy is flashier. So this is probably from the 90s? Hear a bit of Gary Thomas in the tenor, but that could be anyone from a list of many players (Turner, J-Red, Craig Handy, GT). Good, but comparing Hutch to Hutch, 3.5/5 Track 16 - Now this has a very Larry Willis vibe in terms of the composition. Nice tune. Oh, that's Billy Pierce. Funny, I saw him last summer with Alex Minasian and one of the horn players I mentioned above. The other guy had a GREAT night and was not particularly respectful of Mr. Pierce in the process. I'll leave the name out of it, but it's not the first time I've seen the guy be a bit of a big-head on stage (actually, it was the third time). Billy definitely occupies that middleweight division of players, but I really enjoy what he does. Instantly recognizable. As he's a Berkelee guy, he probably deserves a lot of the credit of influence for MANY modern players. Okay, that's *not* James Williams on piano, one of Billy's frequent collaborators. So I'm guessing 90s again. Wondering if this is one of those bands of former Messengers. 3.5/5 (but Billy's solo was a highlight at 4.5) Nice set here, Ken, thank you, again! Yes, sir!

Hey kids, I've been sandbagging on claiming a month to see what develops. Unfortunately, I can't take July this year due to some travel (nor, really, August). If we could get a couple of folks to step up for those two, it would be appreciated.

Gotta get in here somewhat early this month. track 1 - Low-end forward swinging big band. Heavy on the altered extensions, but with purpose. Got a little bit of that two-chord molly thing going. Or three. Busy tenor acquits himself well. Never been a fan of that type of mute. Maybe for section work, but just doesn't sound good to me on a solo. Solid bari work. Maybe a young Cuber? Doesn't quite have his edge, but the ideas are similar. Solid starter, fun tune with solid solos. Arrangement hints to me this might not be the usual format for either band or arranger. 3.5/5 track 2 - Nice, loping feel. Can't tell what the higher stringed instrument is (or is that a double plucked single instrument?). Okay, so two tenors on a live date with a somewhat rambunctious audience (if not an attentive one). Suggests a new(ish) recording (audiences have forgotten how to behave). Okay, that sounds like a pizzacato cello to me. Getting over a cold and can't tell if I'm hearing a bass back there, as well, or it's just a drum. Or maybe that's an oud. That strolling drum beat works well, here. Appreciate that the string instrument soloed first, but really want the tenors to do something. Alas, they don't care what I want. Okay, so there IS a bass. Very solid. 3.5/5 track 3 - Angry alto player. Was brought onto a session once and given instructions to "Zorn out" at a particular point. That's how this hits me -- not a bad thing, but certainly need to be in a particular head space. (Takes a lot more energy to get there these days!) Maybe Arthur Doyle? Not sure it finds his groove, but that's the name that springs up. 2.5/5 (could be higher, but my ears aren't on that planet at the moment) track 4 - That's different flavor. Straight forward swinging, burly tenor. Very KC sound to the band. That tenor sound is ticking something in my memory. Rhythmically I'd almost say Zoot, but nothing close to his tone. Wondering if maybe somebody like Frank Wess or Jimmy Hamilton, one of those unsung "second" tenors. Very cool. 4/5 track 5 - Very busy. If this clicked, I might be inclined to think a William Parker project, but this one isn't fully hitting for me. Drummer doesn't seem to have any purpose besides busy, and bass player is having to work very hard as a result. Like the alto a lot. I probably have stacks that someone would say sound just like this, but this genre really has to hit a niche for me (and I think for most people who listen to it). This doesn't miss, but I'm unlikely to be able to ID anyone here. In a cohesive set, this might work really well. In this context, I'm just hearing it as noisy. (Thought I'm glad to see some bits like this popping up in a BFT!) 3.5/5 track 6 - That transition works well. Thoughtful opening turns more reactionary (not a negative, just an observation). I was hoping for more of the pensive stretch. Could be the same band, but I think I like this sax player a bit better. Drummer, too, though the approach is similar. Nice bow work on the bass. Percussion is a bit clangy, but as a whole, this track works better than the last for me. There's more listening and it seems more of an honest interaction. 4/5 track 7 - First thought was Sonny Simmons, but sounds a little clean for him. Love the feel of this tune and what this band is doing with it. Not so clean as the glossy covered stuff that gets promoted to radio stations, though -- this has some grunt to it. I think I know this player, but it's coming through clearly. Possible that they double? Not John Hicks, but they've heard him plenty. Solid solo by a bassist I don't recognize. 4/5 track 8 - Of the period, not just period correct. Does what it's supposed to. Not my avenue, but well done. When I got up, I clicked on the tube and an old episode of Soul! was on, and a woman was barking out a gospel-blues -- this strikes me kind of like that. I'm not surprised by anything going on, but it works. Well... then somebody has to sing. 😕 The only thing I know for sure is that I don't know who this is. Genre just isn't my bag. I respect it when done well (and this is), but it just doesn't hit me where I need to be hit. 2.5/5 track 9 - This one was neither good nor bad, just didn't really even register for me. I know there was some sort of flute, but that's about as much as it caught my attention. 2/5 track 10 - Wouldn't be my chosen genre, but does what it does very well (in spite of that atrocious bass sound!). Might be a tad clean for what it is, but it gets you moving. It's neither Gator nor Purdie, but they like those guys (who don't!?). Got a little taste of The Meters in there, too. 3/5 track 11 - Well, it's Johnny Hartman. Tenor is pinging hard. [On second listen] Okay, that's Frank Wess, so this is from this. 4/5 And the drought ends! A varied listen, which I greatly appreciate. A lot in here I want to know more about. Thanks! Damnit! Talked myself out of both Ra and Fortune. Figures.

https://www.discogs.com/release/4022167-Walter-Benton-Quintet-Out-Of-This-World?srsltid=AfmBOorhrGFPQNkBEUXSUWBaLQfSY7d9fDII95EF4N1E7fsqHu8LvGS-

Egad. Never thought of Rufus. Benton is one of those weird guys I don't know much by, but I know him when I hear him (think Tate Houston). I had his record Out Of This World when I was a kid (may still have that on vinyl, actually).

With apologies, made my usual commitment to get to this sooner rather than later, but here we are. I don't think I had a full-on ID in the whole set, but there's definitely familiarity here. track 01 - Absolutely love the sound of this recording. First impressions were maybe Lou Donaldson, but this guy's got a bit more Bunky Green in him. Not sure if I'm for or against that. Neither Bunky nor Lou. Real player, for sure. Almost seems like he's playing a bit out of his normal circle? It's there, it's right, but something is kind of poking me. I wonder if I know the player from a different corner of the genre. No matter, everything about this works. 3.5/5 (probably because I'm being stubborn on the aforementioned point; I really like this) track 02 - Quality older recording. This is definitely in the era (40s?), not tributary. I don't know the player, but it's a real gutty, reedy sound, which I appreciate. Swings beautifully. Has the feel of Charlie Christian on the head, but that's probably just by association. Huh. Yeah, not Charlie. I can enjoy this as it sits, but the really remarkable thing is to compare stuff like this to Christian, et al, and see exactly how in-another-universe THOSE guys really were. 3.5/5 track 03 - I was thinking Serenata, but then it took a turn. Love this smoky, feel. Feel like I'm watching a Cary Grant film where he takes the fem fetale out for a night on the town and gets stalked by the bad guys (yes, I'm talking about Charade). Trumpet seems more modern than that, but the rest of it seems period correct. Ooo, love the way that tenor comes in. Tasty tenor work. Nice bone. This track is killin'. 4/5 track 04 - Big band track for people who love the big band sound. Not one of the golden bands (Ellington, Basie, etc.). Well, that's Pepper Adams. That certainly narrows the field. Not thinking the Jazz Orchestra, although, that very well could be Mel Lewis. Not sure on the first, west-coastie tenor. Second sounds like Walter Benton. Man, there's nothing wrong with this track. Arrangement didn't sell me immediately, but these are heavy weight guys, fors sure. 4.5/5 track 05 - Obviously Blue Bossa. I'm worthless IDing clarinet/bass clari outside of like four players, and this is none of them. Pet peeve -- "BLUE Bossa". Why does everybody feel the need to play this tune too fast? Great musicianship throughout, but the pet peeve overwhelms that. 3/5 track 06 - "A gentlemen is someone who can play the accordion, but doesn't." -- Tom Waits Mean, but it's one of those instruments I just can't get beyond (harmonica is another). Seems of the period, and I'll give it that, but I can't do the timbre of that instrument. 2.5/5 track 07 - Double guitars. Always leads me towards Jimmy Rainey, but that wouldn't be right in this case. Sure sounds like Joe Pass in my left channel. Guy in the right channel doesn't have a "jazz" swing. Maybe a more commercially known player foraying into the jazz realm? Not Les Paul, but I'm leaning towards that neighborhood. Gotta be Joe on the other side. 3/5 track 08 - More bands. I like this because my big band snobbery has held me back from a lot of stuff like this. Not proud of it, but I'm learning on the fly. Killin' tenor solo. Great mix of skill and music. Alto is no slouch, either. Don't think I know either player. Reminds of the type of guys who played in Maynard's early 60s bands. They weren't elsewhere in my collection, but sure seemed like they should be. 3.5/5 track 09 - Touches on Booker Ervin, but isn't. Shades of Bill Barron, but isn't. There's a powerful intent here. Maybe not A-list technique, but there's an underlying seriousness here that is undeniable. Ari Brown has that, but this is earlier. Loving this drummer. Is the tenor perhaps a doubler? Pianist doesn't quite maintain the intensity, but the bass, drums are working overtime. This would be a very enjoyable setting to play in, but the underlying message is one of attitude. I'm guess late-60s. Maybe that Philly thing. It's not angry, but determined. 4.5/5 track 10 - Dueling unemployment sticks? Wait, 3?! Gotta be overdubbed. Yeah, that's overdubbed, same player for sure. I guess it's okay, but isn't hitting me in the feels. Feel like it's been done before, and I'd like it more without the overdubs. Makes me want to go listen to the intro to Soran Bushi, B.H. 2/5 track 11 - Aaah... we've entered the unemployment stick phase of the program. Sound reeks of ECM. Nothing wrong here, I just don't connect with it. It's exactly the pocket of the genre I tend to avoid. Great tech, but I'm not getting the feels. 2.5/5 track 12 - This didn't grab me, immediately, but as I'm working with this on in the background, I found myself bouncing along with it (like happens with Very, Very Circus). Pianist for my group would describe this as, "a real toe-tapper." It's got that. The tenor is feisty and aggressive, but doesn't seem to have the attitude of track 9. I like it, but wish it was THAT tenor player. Not sure how well the solo fits here. Trumpet player is on it. I don't think it's as out as the tenor took it. Maybe these are lesser known guys feeling out this pocket. Perhaps an international band? It's got that somewhat sloppy (and I mean that only as a descriptor) South African feel, but I don't think this is that. But maybe a band from another part of the world dipping their toes in that water. It's a bop, for sure. 3/5 track 13 - This is precisely the sort of thing I enjoyed as a young listener just getting into this music. Recording is a little reverb happy, but it works. Feels like it's leading somewhere, but we're not there, yet (2:30). Twangy guitar. Please don't f*** this up, guitar guy. Alas, he can't help himself. We got awfully poppy all the sudden, like an angry Carol King. Rock drummer, because I can feel myself starting to drool. They're staying close to the feel, but it's not quite where it started. This seems really familiar, but I'm feeling the lament of it going more poppy than it began. Feel like I know this, but can't quite get my hand on it. The Drooler-in-Chief is pinging hard, but... ARRRRGHHH! 3/5 I liked the vast majority of the test, and even some of what I was on the fence about is sticking with me as I walk away. Can't ask for more than that from a BFT.

Playlist is all set up. I'll hold of on adding the code to the page until we get a little closer, and then I'll send you the link.

I love that idea! I was going to step in if nobody else did, but June or July work much better for me, so if you're up for it, that would be stellar!

Thank you, sir!