tkeith

I struggled with James for years. Then Tolliver's Impact record with the big band one me over. Later Spaulding is epic. When I realized he was basically a baby during those Blue Note sessions, I went back and listened differently. I really appreciate what he was doing then more now than when I first heard that stuff (like this).

Been a hot minute since I did this well on a BFT. Got lost in the middle, but a lot to like on the ends. Track 01 -- Freddie! Set closer from this. When I was in Junior High/High School, I used to occupy my time NOT meeting girls by making myself mixed tapes. This was on one of them. Much to like about this album, even if Mobley is a bit past prime. Track 02 -- I was just listening to this in the car the other day, and found myself liking it less than I used to. I have the deepest respect for Christlieb's mastery of the instrument, but I lose the thread of his story most of the time, and I'm not sure it's me. Marsh is Marsh, even when he's not full-Marsh. What an absolute monster. This album is nothing if not gratuitous, but it certainly does give a horn player food for thought. Not sure which track, but it's off this. Track 03 -- OOOOOhhh! Dennis! Miss him so badly. One of the world's truly good people. This is off Catechism, again, forget the tune. Dennis was a beautiful guy who, even in his absence, teaches me about friendship and being a better human. One of the people I actively miss. Track 04 -- Alright, I thought I spotted this one, but I did not. Sounds like a bunch of other things and it's none of them. So, I'm'a shut up and listen. Okay, (second listen), sometimes a song this structured doesn't fit for me, but this one certainly does. Even though it's very controlled (drummer must have been going nuts), this really works. I appreciate the raspy guitar sound (as opposed to the hyper-compressed, chorus-soaked Ben Monder-style sound. Every bit of this reminds me of something else, but nothing all at once. The flute/horn line is certainly from something I'm familiar with, but I can't peg it. An enjoyable excursion, both times. Track 05 -- This one is the first miss for me. The vocals remind me of what I didn't care for about 90s pop music. A bit whiny, a bit unhip hip-hoppy. Type of thing that might come on in a social setting and work, but for sitting and listening, it's a miss for me. Over-arranged and too... I'm not sure what. Alt-pop? Sort of like the Bjorkestra, but doesn't work as well for me. Huh... could maybe be the Bjorkestra. Sounds a bit clean to be Travis, but could be. Wish Tim were here to bounce this idea off of. Track 06 -- A vaguely familiar rendition of Tenderly. I like the bass solo and love the arrangement. The trumpet doesn't particularly hit me. Track 07 -- Albert. It's Angels, but damned if I know the source. I recall reading an interview with David Murray where he said of Albert, "I don't think I've every played one note that sounded like the guy." Sorry, David, but I cannot agree. Just acknowledge the influence for crissake. There are certainly worse comparisons. Track 08 -- At 15 seconds I'm in, in spite of the guitar effects. And then we go all Metallica. That tenor intrigues me enough that I want to hear more, though. Wait a second. I was just reading an interview with this guy -- that's James Brandon Lewis. I went to see a band like this (randomly associate crossover band) because the poster advertising the show listed JBL and Kurt Rosenwinkel. As there was no cover charge, I was intrigued, to say the least. When the band took the stage, no one looked remotely like either of those guys, and the music showed that. Sort of a grungy, angsty, jamband stuff like this. I lasted one song and left, with some strong words for the false advertising of the venue. There's nothing I don't love about Lewis. He should be getting the attention Kamasi gets, but it will never happen. So long as he keeps making music, I don't care. This track is all him to my ear. Track 09 -- And there's the boss. Not sure what they've done to Smitty's drums here, but this is difficult to listen to. Focus on Newk and it's all right, though. Isn't this the show where he broke his heel? It's the title track from this. That's better. [we all get fooled on occasion, bud] Model 241 Massey Ferguson. I am a nerd, but didn't know that until I searched for an image of the number.

With apologies -- I don't want to read the thread as I haven't had a chance to listen, yet. I forgot to include a download link, but that has been rectified. The link is directly above the player. Also, I've completed as far back as 2021 for the archived BFTs. Feel free to take a look and shoot me feedback via private message so as not to derail the thread.

My contribution became a pick when I just had my listening drive on shuffle one night. Crazy Ray always seems to catch my attention, but to my ear, there is something extra special in this cut. Ray Anderson Wishbone Suite: Part II - Wish For The Folks From Wishbone Ray Anderson - trombone, Mark Feldman - violin, Fumio Itibashi - piano, Mark Helias - bass, Dion Parson - drums, Don Alias - percussion Edit: Just a quick heads up, I've started to rebuild the archive (long, slow, tedious process). If you have a moment and can check it out, I'd appreciate any feedback (via private message so as not to derail the thread, please). If you're on the regular listening page, you can access via the menu (Blindfold Tests/Archive Blindfold Tests). So far, I've only done the first half of 2023 (click the 2023 button). Thanks in advance.

Not Roswell, but certainly descended from that school -- ID'd by JSngry as Ray Anderson. Not Charlie Burnham.

Amen, brother.

Yes. Your ears were not wrong.

Careful -- I WILL make this happen! Poor choice of words on my part. By no means knocking Roy. Similar to David Murray, they're going to go to that place at some point in each solo. I never tire of either guy doing his thing.

And for me, that sounds lovely. In response to my own cut, people seem to enjoy the frontline mix of trombone and violin. Had no idea what I was going to submit and just happened to be hanging and listening when this came on the shuffle mix. It was a no-brainer. While no one has actually pegged this, the correct player HAS been mentioned in the discussion (though without committal). @DrJ - can't stop laughing about the "make it stop" story. You've literally described all 25 years of my marriage. Sorry it missed. One thing this BFT has solidified (as if it hadn't been obvious), @felser, @Dan Gould and myself will never be having a listening hang. 🤣

So much for getting in early. @DrJ - Love the vamp. Singer's voice is nice -- mellow and warm. It's a good saxophone solo, but a little studied for my liking. They've got a good impersonation of Trane's trio going, here (and I don't mean that as a knock). And let's face it, I'm a sucker for a repetiive chord progression like this. Every time she starts sining, I want her to be Leena Concquest. That doesn't happen, but I really do like her voice, as well as the overall feel of this. I have no idea who I'm listening to. @Dan Gould - Weren't you just here!? Probably won't surprise you that I'm not onboard, here. At first, I wasn't sure it was a band and not synth because of the sound. Tight band, I'll give them that. I have a simple rule for saxophonists who want to be showy -- have something to say. I'm a hard pass on this one. Trumpet is more tasteful and far more to my liking, what I can hear of it over the wah-wah guitar. Can't say it's not good musicianship, it just clashes with my listening sensibility. No idea what I'm listening to. @JSngry - Aw, MAN! HERE WE GO! Song and player are obvious. I remember this from my grandmother's collection (her ears were pretty hip), but she had a lot of Illinois. This just BURNS. THIS is how you flex-and-strut with a horn. The story gives him license. #BadMF Literally never get tired of Roy's schtick -- almost to the point of a guilty pleasure. I know he's going to "shout" at some point, and I'm always waiting for it, but it NEVER lets me down. FIRE! Okay, so that's Papa Jo, as well. Not an ounce of bullshit to be found. @felser - Well, that didn't take long. Billy Harper fools no one. (He posteda great photo of his son and him playing saxophone together. Kid's got a black-and-gold alto, but BH is firing away on his old silver one that he seems to have had overhauled). When they dusted off this tune (so named for BH's Great Dane) for the cookers at the request of David Weiss, Billy's reaction was, "Really?" Not sure how to break this to him, but he doesn't write bad songs. This is from Capra Black, no? Has to be, because that's Elvin. Great pick. @mjzee - It's not Basie, but royalties are owed. Burly tenor, tastefully played. Kamuca? Maybe not. Definitely a working big band, as the band is treated like an instrument. Sound suggests 50s. It's not Maynard's band, but maybe adjacent? And like that, it's over. @Joe - Oooooooo. Sounds like Clark Terry on the head. I know that tenor. That's gotta be Tommy on piano, doesn't it? OH! That low 'bone! YES! Maybe Buster Cooper? Okay, Clark Terry, no question. OH! Now I have an idea -- that clarinet just revealed the tenor to me. That's gotta be Jimmy Hamilton. I have *one* Jimmy Hamilton record, somewhere (notwithstanding the Ellington and Clarinet Summit stuff). Mayhaps this is that. At the end, there's a Woodyard feel to that time, but seems too tame. I could get up and check, but this couch is pretty comfortable. [Later-- bathroom break] It's About Time. That's it. Surprised I didn't pick up on a Jimmy Jones -- that's kind of a BFT sweetspot for me. And Kudos to Mel for bluffing me into thinking Woodyard. @mikeweil - This reminds me of David Murray's Interboogieology (and it is of course not that). I don't want that vamp to change. Ah, but now I see why. Vocalist is for real. Though clearly has more effects on the vocals than are on that horn. Tenor solo, sadly, leaves me cold. Not a thing "wrong" with what's played, just doesn't hit me. Busy piano, maybe Hilton Ruiz? Singer is the high point of this for me. @Ken Dryden - Beginning to See The Light from a praise-and-worshiip setting? Don't know who I'm listening to, but I assume this IS, in fact, recorded in a church. This was a fun one! Edit: Went back to read and realized I missed a cut. @medjuck - with apologies. Of the bat, I was hoping for Ibrahim. Nope. Alto is a little to... slick for my taste. Love the vibe of the bass & drums. Piano is just sort of there, but I think that's okay in this setting -- let the rhythm do its thing. No idea who/what I'm listening to.

Fixed it @JSngry. Syntax error. 🫣

Okay, it seems to be working, now. Apparently, WordPress has its own special little caching system that overrides even your browser settings. I'm seeing the updated page steadily in all browsers. WordPress is dog shit, and people oughta be aware of it.

And, I spoke too soon. Now I'm only seeing #239. Jesus H. Tap-Dancing Christ, I hate WordPress!

Wowsers. I hear it in the sound, now, but odd that he struck me as the low point on the cut. Need another listen.

Checked in three browsers, not logged in, and I see all the tracks. Sounds like a cache issue on your end, Dan.

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.

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/

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.

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.

Great idea. But I challenge you to NOT alienate Felser with the compensation pick!

Sounds like a terrible idea. I'll drive.

Hey, Percy Faith has gotten me a happy ending more than once.

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.

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.

Wouldn't be Billie Harris?