tkeith

Quite right.

Very unexpected, as well. FWIW, the tune i was inquiring about was Maimoun.

Jeter AND that highlight... that's low, man.

Damn it, I was going to say Horace! B[

On the shelf with some kind of lung funk. Good time to get to the BFT. 1 - Vibe was very Donovan Mellow Yellow at first, but voice comes in and proves it's much more cool. I don't recognize the vocalist, but, not surprisingly, I like this a lot. Not my main street, but if this came on in a social setting, I'd be a happy clam. A little arpeggio happy, but it works. This vibe reminds me of my first trip into The Church Brew Works when I lived in Pittsburgh. Walking in, I wasn't sure I was NOT in a church (even with the brewing equpiment on the altar!). As we approached the bar, Tom Jones' It's Not Unsual started playing. It was the first time I felt at home in that city. 2 - David Murray from one of the Red Baron releases. As underwhelmed as I was by most of what was released on that label, this album, or more specifically this cut, was an absolute high point. No surprise with John Hicks on piano... on piAAAAAAAno!!!!! ON PIAAAAAAAAAAAAAAAAAAAAno!!!! The great John Hicks on piano. I know Murray is a divisive figure, and I understand why, but this is a prime example of what he can do when he is "on". Of all the praticioners of circular breathing, he's the one guy that I feel actually incorporates it into his musical message -- it's a tool, one in his kit that helps him to deliver his message. This song is aural dessert for me. Love it. The rest of the rhythm section is not exactly lacking, either. Workman with his typical incredible note choices, and Cyrile is just... everything. I wish the whole record rose to this level, alas, that is not the case, but if one needs to own ONE Red Baron release, this has to be a strong contender. If you want two, there's a nice Bob Wilbur release in there, as well. Here's the link for this one . 3 - Stanley! God I love this album. Prayer For Peace from this. There's not enough that can be said about this guy's writing. And a true gentleman. I reached out to him at one point looking for a particular chart, explaining the hobbyist nature of my playing and declaring my love of his work. He provided me a login to his server and said, "Help yourself to whatever music is there. I'm thrilled to have it played." #GreatMoments. 4 - No idea what this is. Doesn't offend, but the bar has been set very high, thus far, and this one is a bit out of its league, thought that bass is awfully nice. Sounds cooler than Avashi Cohen, though I can hear him doing something like this. This seems to BE cool where AC tends to try-to-be cool. At least to my ear. 5 - Feels very Gil Scott Heron meets Santana. No idea who or what. Good groove, but not sure it's a sit and focus on tune. 6 - Dreaded synth... holding my breath, here. I like the playing, I just hate that sound. After three minutes it arrives somewhere, but not sure how I feel about the destination. A rare felser miss for me. But, hey, it took 11-1/2 minutes, so there's that. 7 - Tenor reminds me of Fela's style, but this feels too new to be that. Given the live feel of the band and the Fela influence, I'd guess this to be a South African musician. Hyper-compressed drums grate on me. The feel is there, though, and that counts for a lot. 8 - Man, the beginning of this is so close to Greg Bandy's drumming on Pharoah Sanders' Love Will Find A Way. Okay, it's Little Sunflower. Really liking the hand drums on this. The whole rhythmic feel is a win. Vibes, so far, are incidental, but that's okay. Here we go (3:15), vibes are digging in. It's got that snappy percussive feel of really good James Brown, but with that Latin percussion influence. I mean, come on, if your backside isn't shaking a little to this, you're probably dead. Nice tenor sound. Patient start, hope it continues. Could be Martino, but I don't think so. Certainly has listened in that direction. 9 - I was going to suggest a tie to an earlier track, but this is Hannibal, Soul Brother, with Diedre Murray on cello. This whole album is epic, but Michael Cochrane's tune Revelation is my favorite. Hannibal is just... wow. The version on Cyrille's My Friend Louis is also pretty epic. I consider it a cultural crime that this guy isn't a household name. Here's the link. 10 - I mean, two chords in, you know what this song is. At first, I was thinking Mingus on piano, but then I thought I heard a touch of Gene Harris. Very loose drumming. Reminds me of Rashied Ali's band at Den Haag. I'm stumped. It all feels familiar, yet foreign, which is probably a clue. 11 - I like the piano, I'm not sold on the vocals. A little too look-at-me for my taste. I really want this to hit, but it doesn't. I keep wishing this was Dwight Trible so I could get what I need from it. I can't kick, this whole test was a bundle of fun, with several epic cuts. Which, frankly, is not surprising. "Come on, man! It's been a lousy f****n' day and I hate the f****n' Eagles!" #iykyk Needed something for 261. I hear what you're saying about the time, but for me, it's part of why this music holds up so well. I hear so many albums now where the time, pitch, and blending of voices are absolutely flawless, but the music is missing the "it" factor that makes me give a damn. Just my 2¢

Joe Henderson, but I'm not typing the title of the movie. Here's the IMDB link. He plays Lee opposite Fred Williamson. There's a discussion around a fire that is probably his biggest scene. https://www.imdb.com/title/tt0070721/?ref_=fn_t_2

Noted. When it's more complete I will do so. Out of curiosity, what is the timeline for one to edit their own post?

We'll make it so. Thanks for being proactive. I'll try to keep something open later in the schedule.

No worries. You've got March. So, we still need presenters for*: April, June, July, August, September, October, November. (* Randy Hersom gets one of those, as do I, so really, there are five of those seven available.)

Mmm, nope, you can't. January, February, May and December are taken. All else is open.

Only January, February, May and December are claimed, at the moment -- pick your month from what remains, and I'll carve it in stone.

track 01 - Can't make out what's being said, here. Connected to speakers, too. track 02 - Well, certainly sounds like Gil Evans writing, but not sure what it is. Guy's writing is always interesting. Probably doesn't hurt that he always works with killin' musicians, either. Case in point, that certainly sounds like Wayne Shorter. I know two things: 1) I don't have this, 2) I need this. 4.5/5 track 03 - My first thought was Heinz Sauer on tenor, but it's not him -- cleaner sound. Definitely someone with that European influence. Maybe Sean Bergin? No confidence in that guess. Phrasing has Shepp's influence at times (hence the Sauer connection). Not sure how often I'd dig this out, but in the right mood, this is excellent. Non-standard instrumentation. Getting a slight Frank Carlberg vibe from the piano, but this pianist is more melodic. This works. 4/5 track 04 - This one is it bit too programatic for my taste. Interesting composition, stellar musicianship, but not hitting me in the feels. 2.5/5 track 05 - Odd composition. Durge-y, quirky, but also musical. Horn arrangement is pretty straight ahead, but dense. I don't want to say Gil, again, but what else could it be? I don't know this. At 2:45, that line the horns are playing teases Mingus, but SCREAMS Gil. If I had any guts, I'd make the claim, but I'm struggling to commit. I mean, if it's Gil, it's likely a band with Knepper, Rehak and company, so... would explain why it works. 3.5/5 track 06 - Brash tenor. Cookin'. Sounds like Jimmy Forrest to me... a LOT. I'd give time off my life to be able to play like that. Fearless. A-HA! At 2:40, there's a tell -- that's Grant Green, for sure. Ah! Okay, this is in my stacks. Forgot about the drummer (shame on me!). It's track A4 from this. 4/5 track 07 - A little clavé. No idea who it is, but I really like this. Drawing full blanks on the tenor. My guess is these guys are from the 60s. The feel is all there. I'm not getting clear pings on who they are, but that pianist could fit easily into one of Bobby Hutcherson's bands (and probably has). Hand drums feel a bit stiff, but I bet this band caused a little shake in person. Got to see Tito once, and man, am I ever glad I did. That music needs to be EXPERIENCED! 4/5 track 08 - I'm sensing a trend! (just call me Deanna Troi). Live (boot?). Has the feel of somebody like Hal Springer. Pianist has very deliberate phrasing. Makes me wonder if this is a newer recording. McCoyisms in the piano, but also some Kenny Barron influence. Mayhaps a student of the latter? HEAVY McCoy influence. So, an alto (sound was so bad, couldn't be sure on the head). Only guy I've heard approximate that Blakey-shuffle convincingly was Ralph Peterson. Could be him. Alto isn't ringing any definitive bells for me, but is for real. Not Garrett -- more individual to my ear (and less beholden to Trane). Guy is completely putting out there, though. Certainly a post-Coltrane guy, but getting the utmost out of that. 4/5 track 09 - There's a giant hole in my collection to be filled by stuff like this. I don't have enough stuff with flute lead. This is authentic, so it's Latinx musicians doing there thing. I'm woefully unversed in the genre, though. Very tight band, the hits really work. 4/5 track 10 - Wow. Brutish tenor. Almost sounds like Sonny Criss might sound on tenor. Got that little lilt in his phrasing like Sonny. Am I crazy or do I actually know this tune? Something mighty familiar about that line. Man! This is KILLIN'! 5/5 Two things not a surprise: 1) A lot here I don't know, and 2) A lot here worth listening to. Well played, sir... well played.

Ken, given the exchange above, I'm putting you down for May.

In that case, I'm going to fly you standby along with me for a bit to see what shakes out. You WILL have a 2026 BFT, that much I will guarantee. And thanks for bailing me out this year.

Oh, for the love of... got that one, too. 🙄

Okay, the clues got to me. Another listen to 3 reveals Phil Ranelin as the trombone, and I'll eat my hat if that's not Roy Brooks. That was the when the twig snapped. Check, sure enough, this is sitting in the stacks. Would not have gotten there without the hints (and I LOVE Wendell, but not so much here). It's B2 from this. No such luck on 4. Still brings me to Thomas Chapin. Only thing I know for sure, it's not Braxton, because I'm not ready to enact drastic self-harm (just can't do Braxton). Head definitely has shades of Threadgill, but this doesn't hit me in the feels the way HT does. On track 6, I still can't net the tenor. Serious chops, but... I don't really *like* it. Yes, I'm being curmudgeonly. I feel like Chico Freeman or Peter Apfelbaum could really make this work. This just doesn't really have the fire those guys would bring. I mean, there's fire, but I'm not buying. Feels very... practiced. Chops to spare, but I don't hear the story. Looking back, my ear still brings me to the guesses I initially made, which, evidently were wrong. 😕

That explains my reaction to the bass.

track 01 - Odd tune. I kind of like it, because it reminds me of a Billy Harper tune. Working agaist it, it's NOT that tune. Okay, I know this pianist. It's got a McCoy feel to it, but he doesn't seem to be going right at it the way McCoy would. Snappy brush work. Okay, I was thinking Roy Haynes or Freddie Waits, but that's Elvin, no question. And it's McCoy. Wait... egad, I have this. It's track 2 from this. track 02 - Strange strings combo. Oh, that head sounds familiar when the horns come in. Mayhaps something from the CIMP catalog? I don't think it's Bang... maybe Leroy Jenkins? This has "it" whatever "it" is. It's certainly not polished and not perfect, but it's REAL, and that's more than enough. Tune almost has the feel of a Steve Lacy tune. It's not Frank Lowe, but it's in the neighborhood. Wondering if this is someone I'm more familiar with as an alto player. I read where Gary Bartz said he tends to like alto players who started with tenor and tenor players who started with alto. That's what this sounds like to me. Now I'm not convinced that this is not an alto. I was thinking tenor, but around the 6 minute mark, no that's an alto, with a beastly mid-range. So, early on, I was thinking maybe Jimmy Lyons, but it's a way beefier tone. LOVE the bass. Acutely interested in this one. Live recording would account for the "Cadence sound." track 03 - Horrendous 70s drums sound. Very busy band, maybe soprano lead? Could be Thad/Mel, but doesn't seem to have that facility. Mayhaps an offshoot band of former members? Sounds a lot like Joe Farrell. I don't love this -- could just be the track, but something isn't hitting, here. It lacks what the last track, had. Not sure I know the tenor, unless it's a very early recording of someone I do know. That could be Randy Brecker, but seems a bit more chancy in the approach. That Rhodes is very forward in the mix. Liking the trumpet more than the tenor. Sounds familiar adjacent. I'm getting flashes of recognition, but I don't trust them. I don't think I know this. track 04 - Horrendous 70s drums replaced by horrific 80s bass and drums. "Why you do this to me, Demi... why?" It's not the Black Saint guys. My first thought was that it reminded me of a Threadgill project, but it seems neutered by comparison. Thomas Chapin? Bone reaches me more than the alto. Could be Steve Swell. Those drums combined with the pep-band head just doesn't work for me. It's serious music and the soloists being a lot to it. The "tune" is kind of rubbish. Man, I really don't think that's Threadgill, but it *could* be, if he's working with another band. Muhal? No, that's not Henry. Sound is awfully familiar. I keep coming back to Chapin. I'll commit to that guess, but I don't know this. track 05 - Sounds like a Mingus composition. Okay, it's Mingus. Booker fools no one. Oh yeah, that's Knepper. #badass If I have this, I haven't played it quite awhile. Mingus always has a degree of familiarity, but my collection is by no means exhaustive. That's not Pepper on bari, though. Mingus doesn't get covered NEARLY enough. track 06 - This sounds like an Anthony Branker project, but that's not Tim Warfield. I like most of this, but those drums lack dynamics. He's just beating the hell out of my ears. Too bad, because this is really interesting. Conservatory guy on tenor. He's damned good, but there's a little too much muscle memory happening here to reach me. It's good, but... there's just something missing. Incredibly capable tenor, I'm just not buying it. Craig Handy could sell me this, but this guy (woman?) is not making the sale. Wow... eat up space, much? More ego than fire. track 07 - Cherokee. Never a fan of the tune, but these guys are working hell out of it. I have a listening allergy to this tempo (and a SEVERE playing allergy). It DOES, however, bring to mind this tale: https://www.youtube.com/watch?v=WScoPutUeiY They're pulling it off, but it's just not my thing. It's a bit masturbatory. LIke the bass, but feels like he's at the end of the rope at this tempo. Someone has studied Max. Weird. Seems like I probably need to know this, but don't. If that's NOT Max, I'll be shocked. track 08 - Shades of Charles Lloyd, a touch of Pharoah Sanders, a WHOLE lotta chops... maybe early Lovano? About the one minute mark, that guess feels REALLY on target. Jesus. This dude has his Coltrane DOWN. I'm not in, yet, but no denying the chops. electric bass and I don't want to throw the guy off a tower, so I'm going to guess Jamaladeen Tacuma (about the only guy who reaches me on the electric). Really nice feel. Flirts with Wise One, a bit. Those hyper-compressed drums present a problem for me. The feel is stellar, though. Yeah, that's got to be JT on bass. Coltrane/Pharoah is back. Almost a touch of Bergonzi in that tenor, but there's a sort of prettiness to the tone that tells me no. Sick range. I heard Garzone play My One And Only Love once, and he got this sort of sound, but I'm not convinced his him. This one works, though, in spite of the drums. track 09 - That sounds like Sonny Simmons right off the bat. Nope. Now it got all clean. Clearly a player with some pretty serious chops. I thought I was hearing one tune, but we've arrived at Chelsea Bridge. I thought I was hearing I Loves You Porgy. I think I would like this more if I *hadn't* recognized the tune. Just not sure you need to do this to Ellington. But, they have, and they've done it well. No idea who THEY are, though. Oh... live. Okay, that opens my acceptance level a bit. They're going for it, and I respect that. track 10 - Gonsalves. There is no substitute. Over The Rainbow. Man... I'd listen to this guy sleep. Raw soul. I detest this tune and he is absolutely slaying it. It's brutal what this guy did to himself, but MAN, could he play. No idea what the record is, but I will never find enough Paul Gonsalves to please me. track 11 - What's New. Dickerson, at his absolute best. If this album isn't in the desert island collection, that island does not exist. Friggin' travesty that this guy isn't one of the pivotal figures known by EVERYBODY. Try to find an off moment on this album -- go ahead, I'll wait. First time I heard this on CD, I heard the drums on the title cut for the *first* time. This guy was an absolute gem. track 12 - This is really nice. Not sure what it is. LOVE the bass. Ah! About 2:00 mark, we have slidy piano keys and he's taking up a LOT of the space. Sounds like Blackberry Winter, so I'm going to say Jarrett. LOVE the bass, did I mention that? I've got my issues with KJ, but no denying, the dude can play. This is most certainly among my favorite BFTs of 2025. Well done, sir! I'll be damned. Garzone. And it WAS Bang. And a whole lot of other stuff I should probably know and a bunch I DON'T know. So much to learn, so little time.

Confirming Danuary, medjuck for February, and Felsember (THERE we go!). Not confirming Jim until he says so.

These threads tend to get long relatively quickly, but it's unclear how long I have to edit the original post. Sometimes I can fill them in, sometimes I can't. So, if you claim, I'll confirm, but I'm going to hold off from making an actual "calendar" post until we have a few confirmations, at least. I know Dan wants January, so we'll start there -- January is Danuary. Please request your month in this thread (rather than staking an outright claim). I'll do my level best to make sure everybody gets one of their top two choices, but the early bird gets the worm.

Sorry for the delay -- upside: actually slept!

My inner curmudgeon (I searched images for "grumpy old man")

Apologies for taking 3-1/2 weeks to get to this. Whatever I was expecting, it was not this. track 01 - The Wedding. Abdullah Ibrahim (and further proof what absolute shit American pop music is -- this song was on the charts in South Africa). Not sure which version this is, none of them are bad, it's a great tune. 4/5 track 02 - First reaction is Bobby Shew, but seems a bit more energetic than I'm used to hearing him, so perhaps a younger player I should know better? Rhythm section has that Harold Mabern feel, but I think these guys are a generation or two younger than HM. Disciple of Woods on alto. Dude can play. I'm not in love with it, but the ability is legit. Definitely not Mabern. This is cookin', but I'm wondering how a full album would measure up. Could be I'm just in curmudgeon mode. I'm not convinced, but I'm listening. This is good. I'm being too harsh on these guys. They're in this, and it works. Got a bit of polish, but it's working. Bass solo didn't wow me, but wasn't a knock, either. Drummer has his Billy Higgins down. Maybe Farnsworth? 4/5 (upgraded from 3.5, because I felt I was being a bastard) track 03 - Getting serious Strata-East MPS vibes from this. If not for the trumpet, I'd guess this was a Dick Griffin project, meaning, I'm a very happy boy. Well, this tune could be either McCoy's Sahara, or Don Pullen's Kadji. It's neither, but it borrows from either or both. Not a bad thing. Mix in a little impressions breakdown to break it up, I'm listening. Still on the head, but alto has Jackie's sound down. Hmmm... and his Dudu. The choppy swing, that sound, is this a South African band? Mix in a little Threadgill with that sound. Now I'm wondering if this could be a Muhal project. Why do I not have this? Trumpet sounds like one of the Murray guys, so much that I'm a little cheesed of that it's not Murray on tenor. I'm going to stick with the SA line on this, but no idea who it is. Must have this. 4/5 (but SQUARELY in my wheelhouse) track 04 - Cheek to Cheek. Always makes me think of The Purple Rose of Cairo, but my favorite version is Ray Anderson (in 3!). Very capable musicians. Guessing just outside of my listening ring. Might be worth bringing back the Bobby Shew guess, as that could be Makoto Ozone. I feel like this album is definitely in Dan's stacks. 4/5 track 05 - I like the feel of this overall. Tenor feels a bit polished for this, but I guess that's par for the course. Sounds a bit like Jeff Coffin, but I'm fairly familiar with his output, and this player's sound is bit more trad Jazz than Jeff. No denying the musicianship. Not sure I want a whole album of this, though. For a single tune? Yes, please. I'd prefer he (she?) didn't go all Brecker-ish around the 3:00 mark, but overall, this still works. 4/5 track 06 - A little tango? Full disclosure, the whole song played with minimal interaction on my part. Had to replay it because the first run made zero impression. Not news that I'm not a fan of the clarinet, but this neither disturbed nor engaged me. It's good musicianship (second run through), but not in a way that makes me care. 2.5/5 track 07 - Not sure what head the trumpet started with, but then overlayed over Groovin' High. Younger generation players, but doing it well. I don't believe I know the trumpet. Don't recognize the tenor, which is what bugs me about this. Could be [fill in conservatory-trained tenor here] or any number of people, but I'm not hearing anyone unique. Guitarist sounds like someone who's listened to a lot of Martino (and realized how impossible it is to play like that). There's nothing wrong here, but this could be a well-crafted band-in-a-box track. I just don't hear the balls. 3/5 track 08 - Sounds like Kenny Barron's band. Really like this, but no idea what it is. 4/5 track 09 - Love this. No idea what it is. Bit like a David Murray head, but that voice captures that Tom Waits feel (before he trashed his voice completely). This is a bit weird, but in a good way. I'm in. Full in. No idea who it is. ROAR! ROAR!!! ROOOOOOARRRR!!!! Love it! 5/5 track 10 - I know the song, but not the version. I know it was Al Jarreau, but I know it from a guy from this area, Chris Humphrey (check out his Cadence relief, you won't be disappointed). I like her voice. Unsure who it is. I like that they stayed right with it, no BS. 4/5 track 11 - Uhm, perfect? Okay, that explains much. Assume that's Sweets, but that's DEFINITELY Jaws. Certifed Bad MF. 5/5 track 12 - Piano makes this a bit new agey, but that tenor sound is NOT that. Ah, but now it's getting a little smooth for my taste. Early on I was getting shades of Buck Hill, but the little grace note thingy is more Chad LB than Buck. It's not "bad", just a little too glossy covered for my taste (and doesn't fare well in the shadow of the previous track). Yeah, sorry, this is a full pass for me. I'm sure this guy was the envy of the practice room, but I'm full on not caring about this cut. 3/5 By and large, I really liked this set. A couple of tracks that didn't hit me in the feels, but most of it was firmly in the other (preferred) category.

Getting in here while I'm prepping for a rehearsal, so apologies if my text is a bit distracted. Track 01 - Arrangement immediately brought me to Mulligan, then bari came in and sent me in the opposite direction. I admire the growly edge, as well as the facility of the bari. No idea who it is. This may get me in trouble with Dan, but that sounds like Scott Hamilton to me. A bit more traditional than my happy zone, but I’m fine with this across the board. A solid 3/5, Leonard. (I REMEMBERED!!!) Track 02 - Gene Ammons’ Walkin’ (and I’m not sorry for referring to it as such). Alto is quite controlled. At first, it rubbed me, but as it goes on, this player is staying within themself and not trying to recreate anything we’ve heard, and that alone makes this a winner for me. None of this is wowing me, but all of it is hitting the right nerves. Drummer would grate on me after a bit, but I appreciate what I think they are going for. Trumpet is the one catching my ear the most. A bit like mid-60’s Art, but not him. A happy comparison, though. Bass is doing everything I want them to. Fire the engineer! (not a fan of that fade) Track 03 - Nope. Track 04 - Donna Lee. I know Grachan Moncur, III used this in his teaching a lot, so I’d guess one of his students. Player has chops. I’ve always found the tune a bit masturbatory, though. (let the flames begin) 3/5, though musicianship is probably higher. Track 05 - Do I detect Billie’s Bounce? This octopus can play the piano. High energy throughout. 3.5/5 Track 06 - Interesting cross of eras, but not one I’m sure I’d visit very often. 2.5/5 Track 07 - Another trio burner. Getting a Toshiko vibe from the pianist. Tumbling drums and stabby bass are kind of confusing the issue. There we go, now we’re locked in. But then, no. Then, yes. Interesting, but a bit distracting. If the lights were out and it was night, and I could dig into this, I’d be more into it. I do like it, but I’m having trouble connecting to it. 3.5/5 (could get to 4 easily with the correct setting). Track 08 - Usually the bass (or is it cello, or “piccolo bass”) used in this fashion doesn’t hit for me, but I like this. Feels very solid and in the pocket, AND the guy has intonation (you hear me, Ron!?). 4/5. Track 09 - Straight ahead swinging piano trio. What’s not to like? Only thing that would make me like this more is if it were Mal Waldron. :D I’ll take one of these for the road, please. A little arco to boot. 4/5. Track 10 - We’re back where we started. The sweet harmonies of this pocket of the genre don’t always hit for me. Today? Working just fine. Westie tenor. Might be someone I’m familiar with, but only peripherally. Three in a row! That sure sounds like a valve trombone, which is a problem for me. It’s okay, here, but I don’t want to hear it on EVERY track. 4/5 Track 11 - Piano vamp has me recalling McCoy on the intro to Autumn Serenade, so, they have an uphill climb. :D Odd rhythmic interplay between piano and bass. Not sure it works, but it’s interesting. To my ear, this wants for a drummer, but that’s just me. 3/5 Track 12 - This is the sort of thing I can appreciate live. On record, I could not wait for this to be in the past tense. 2/5 (should be higher just for the musicianship, but just not my bag) Track 13 - Crescent, done differently. I’m not loving it, but I’m wondering if this is going to be someone I know and like a lot. As I recently heard David Murray say, “Coltrane is hard, man.” 3/5 Track 14 - Is this a tune a know or approximating something I know? Certainly capable players. First player has chops, but comes off a bit polite. I could copy and paste that for player two. That said, there is not a thing wrong with this. Good feel from rhythm section. Piano sounds QUITE familiar. Almost like John Hicks, but slowed a bit (as Barry Harris to Bud Powell). I’d take another track from this band. Remind me a bit of Sabertooth. 3.5/5 Track 15 - Some Other Time, no? As a rule, I don’t care for the recent trend of redoing standards with fancy rhythmic choices, but this one works. It works very well, indeed. I mean, I’m not getting rid of my Bill Evans records, but this is respectful of the tune, but done in their own way. More of this, please. 3.5/5 Thanks, Ken! There's a few in here I'd really like to spend some more time in. I think 7 and 15 are the two I'd return to most often.