tkeith

Thank you, sir!

Thanks, Mike. Didn't want to bug you until I had more responses. But if you're around and want to update the OP with my calendar from the prior post, that'd be greatly appreciated.

Indeed, sir. June is Tom in RI. Just a quick update on this: Jan - Dan Feb - Randy Mar - Joe Apr - May - Ken Jun - Tom in RI Jul - Aug - Sep - Oct - Nov - Dec - felser I'm holding off choosing my own, so I'll take one of them, but right now, the important one to be filled is April.

Struggled greatly with the first part of this, then the mid-section got REAL good, and then I went back on the struggle bus. Good to stretch the ears, though. Stars out of 5 track 01 - Busy but interesting. Bass clari just seems to add something whenever it shows up. Arrangement doesn't really hit for me, but it doesn't put me off, either. Lovano-ish tenor. Kind of stalls during the tenor solo. Again, nothing bad, just doesn't seem to get any traction. *** track 02 - This gets caught in a genre vortex. If I heard this on a pop or college station, I'd listen to it. From the Jazz perspective, I loathe that bass, and the singing is a miss. Bizzare, but that's the case. Reminds me of Tom Scott's stuff in the 70s, but a shade or three hipper. Sax embraces the smooth licks but plays them busy. Vocalist reminds me of one I've heard with Travis Sullivan's Bjorkestra. Es no mi bolsa. ** track 03 - Had hopes on the intro, but this is a bit math-y for my tastes. Rhythmically challenging, for sure, but that doesn't make me want to listen. Once the solos begin, it's very interesting. Guitarist is working off the busy drums and making it interesting. Two drummers? About 2:30 I'm glazing over. Just don't care for that "melody". Trumpet solo is nice. After that quirky head, the improv is very patient and melodic. Maybe I'm just old. **1/2 (hurt by the melody) track 04 - Nothing in this one for me. At about the 1:00 mark, I'm twitchy on the FF button. They seem to be getting the result they want, but I'm not here for it. Syncopated noise. [Get off my lawn!] * track 05 - Already hopeful because it's acoustic. Shades of Shipp. Also a Tristano influence to my ear, rhythmically speaking. Math-y, but it's got that stabby lefthand bringing some Elvis to the party. I don't think I'd want a whole night of it, but this cut works well, here. Don't think it's Shipp, but I wouldn't be surprised if they've listened to him a bunch. ***1/2 track 06 - That opening vamp and the bass/bugaloo really hit a nice spot. I'm not sure the piano has capitalized on the setup. Almost has the feel of the piano playing to a rhythm track that was pre-recorded. I'm flirting with liking it, but the pianist doesn't bring it home. At half the duration, I'd give this an extra 1/2-star. It just flounders too long and gets too bangy. *** track 07 - Points for humor. Vocalist is pretty good. Bass line is nice, sitting right in the pocket. The pianist annoys me. Not a huge scat fan, but she acquits herself well. Pianist is too extension happy and it kind of ruins the feel. *** track 08 - That's Stanley. And I'd guess Shirley Scott. Man... what a difference. All of this happening here is what was missing on the previous cut (to say nothing of the six before). I guess I'm a Jazz curmudgeon. Stanley rarely misses for me (that SOUND!). Yeah, definitely Shirley. Can't hear the bass real well but the time is solid. Maybe Cranshaw? Not sure on the drummer. **** track 09 - 3/4, I'm in. Sounds like Betty Carter. This is a keeper. **** track 10 - Stating the obvious, needle drop. Bad sound, but that trumpet is familiar. The mute is throwing me. No guesses, but this works. ***1/2 track 11 - Don't recognize the vocalist. This tune always brings me to Walt Dickerson, which is not fair to the rest of the universe. I appreciate that she's not taking crazy liberties with the melody. Very pleasant. Nice brushes, nice lead-in to the solo. Another familiar trumpet, but it's not coming through clear. A bit of a technician, but also has an honest feel. ***1/2 track 12 - The unemployment stick arrives, and bring with it... a harmonica? Nope. **1/2 (because of the musicianship, but just not in my play pen) track 13 - Don't like this feel a bit. It's different, but not pleasing. The drums are almost trying to be out of time. Very rigid, but trying for lazy feel, like a Bacharach tune. Not feeling this one a'tall. When the arrangement comes in it's got that fusiony pop thing going on. I liked the later mid-section best. ** Welp, I've been outed as an old man on this one, I guess.

Remembered a name to go with the face: Doc Cheatham.

And as though scripted, here I be. Been a stretch, apologies for the lag. Some of this was very unexpected. Track 01 - First tenor sure sounds like Buddy, but the time doesn't seem fully locked in. Maybe older Buddy? Second is nowhere near as locked in as the first, but I enjoyed both. Piano solo I could have done without. The a capela horns is WAY cool, and any time issues are gone (maybe it's the drummer?). My guess is it's 2nd guy's album. ***1/2 Track 02 - Who are you and what have you done with Dan!? Very busy, and VERY overdubbed. Not my jam. Reminds me of a Tom Scott record I had as a kid (w/Starsky & Hutch theme). Oh, and a wah pedal to boot -- no thanks. Busy, but doesn't hit me in the feels. Almost sounds like Sanborn when I can hear the horn through all the effects, particularly on that strangled note at the end of the solo. Be okay in a movie, but I'd never spin it. ** Track 03 - Things Ain't What They Used To Be. The time is NOT syncing. I was prepared to take a kitchen knife to this, but that sax player is for real. He's maybe post-prime (because there's certainly a story in that sound), because the time is a little wonky. Again, could be the drummer. Hang on. I know this sound (trumpet). Can't come up with a name, but I see a face. Video I watched on the old A & E back when it did such things. It was the 80s and the guy seemed ancient then. Oh gosh... I hate my memory. Not Rabbit, but has certainly put his ears there (which is a SMART move). I'd feel better about this if I could hear the individual, but I'm really hearing Hodges redone, here. Audience is into it. *** Track 04 - A variation Jerome Kern by a tenor who likes Warne Marsh a lot. I don't believe it's him, though. Recording sound lets me down, a lot. Just before the two minute mark, starts sound A LOT like Marsh, but then seems to lose it. I've never really heard him "off", but I suppose it's possible. Love the bassist's time. Drummer is a little tight for my taste, but that bassist is killin'. Come on, that's GOT to be Marsh. Such a space shot! Gotta love it. Second time listening, that's Marsh. I know in the 80s he was touring with a guy who was trying to be him, but this is the actual artifact. Bad sound threw me but it's got to be him. I'm trying to think of anything I have him on with a trumpet outside of SuperSax. Possible NHOP on bass? **** Track 05 - A different take on Who Can I Turn To. I think I like it. Could be Gator. Whomever it is has great facility and swings like hell. Okay, the sound of that piano suggests a Concord recording. Not feeling the guitar at all. Now I'm getting a bit of a Houston Person feel. I'm also fine with that. This a definite lull when the tenor drops out, and a net-negative when the guitarist comes in, but that's not an uncommon reaction for me to the instrument. Very interested in the tenor player, but the guitarist really hurts this for me. ***1/2 w/ guitar ****1/2 without Track 06 - Rhythm section kinda had me for a bit. Tenor is not quite Harold Ashby (not as personal), but seems to be aiming for that mark. Not hitting it for me. Can't help but hear a little irony given the tune. Rhythm section works for me, particularly the bass. Drums are a little forward in the recording, which suggests it's newer (mid-90s or later). A perfect Webster line coming into the solo. And when he gets a little busy, sounds more like Getz. Dude can play, but I'm not sure he gets a spot on my roster. *** Track 07 - More Tickle-Toe, but Jesus, I gotta put my seatbelt on. Okay, Jaws, no question. SUCH a baaaaaaaaaad MF! VICIOUS!!!!! AH! J-Grif fools no one, AGAIN! That's a lot of MF on one stage! That guy VIBRATES! What can you do, man? You gotta laugh! That shit is IMPOSSIBLE! WICKED! ***** Track 08 - I see what you're up to, here. Alright, that's GOT to be Gator. I'll take it. **** Track 09 - All The Things you put on your BFT. I've got a better chance of solving the grand unification theory than I do of IDing a clarinetist. Pianist has a nice touch. They are laying back nicely and not getting tripped up by the slow tempo. Good band. Wow, really nice clarinet sound (and I LOATHE the instrument). Nice. Doesn't get greedy, hits the bridge instead of dragging the solo into March. Don't know who it is, but these guys are for real. **** Track 10 - No clue. Another one that work as a soundtrack, but as far as a spin, I don't care for this at all. It's a style, just not one I'm into. Hmm... this wouldn't be those semi-famous brothers who were very popular in the late 70s/early 80s for their band? Sounds like Randy on trumpet, but the sax doesn't sound like the other brother. Absolutely nothing in this composition for me. Egad. Just looked and there's quite a stretch to go, yet. Maceo is about the only guy I can deal with playing this stuff. GET OFF MY LAWN! I'm so wanting him to DO something with that one note. Just commit and give me, "The roof! The roof! The roof is on fire!" [note: I realize this was likely recorded well before that] **1/2 You know, there were several on here I really dug! #commonground Here's an obnoxiously long cover of Pick Up The Pieces by the Phil Collins Big Band. It's WAY stiffer than that sounds, however, if you have 22 minutes to kill, I say it's worth it for James Carter at the end. Dan, I'll save you the 22 minutes, you'll hate it.

Jan - Dan Feb - Randy Mar - Joe Apr - May - Ken Jun - Jul - Aug - Sep - Oct - Nov - Dec - felser If you're sandbagging, please choose at your earliest convenience. Seems like we're very low on presenters in 2026. Also, just putting this out there -- this is a very small portion of what is, at the moment, a very busy world for me due to some family stuff. I'll do what I can, but this is NOT my job. Please remember that when asking questions. Thank you.

Would you like February?

Ken, please note the date on the quoted message above. Randy, some shared a quoted post above with months that are taken. Of the untaken months, there are two claimed (you and me).

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. 😕