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tkeith
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Posts posted by tkeith
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On 6/4/2024 at 4:31 PM, Dub Modal said:
Far and away not an audiophile set lol. Thanks for listening and sharing some thoughts. It wasn't my original intent to have this many clarinet times but it ended up that way. BFTs can be funny and take a life of their own when trying to put them together.
Fwiw, the clarinetist on track 2 is Ed Hall (IDd above) and it seems like of those songs this was the better one for you. What do you think track 5 is? No one has guessed it yet.
You nailed tracks 12-14. Yes to McDuff and McPhee! How did you come around to knowing it was McDuff on 13?
Something about the phrasing (not sure if it's voicings or rhythmic patterns) leaned me that way.
Track 5 had me thinking of John Valby lyrics, but there's another song that comes to mind -- a Chuck Berry tune.
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Listening on the laptop, but doesn't seem like this was an audiophile set, so...
Track 01 - Left coasty feel. Odd sound, but I like it. Some east sneaking into that piano solo. Cooks and it's interesting, though probably not the first thing I'd reach for. Cool tune. Only sure of who it isn't.
Track 02 - Wasn't me. Reading a social media post from a bud recently about how much he loves the sound of the clarinet. Not me.
No guesses. Quite listenable in spite of the clarinet.
Track 03 - Sounds like a movie theme, or maybe a montage sequence soundtrack. Enjoying it, but again, not likely to be the first thing I reach for. I don't know the individual players. Tenor is interesting.
Track 04 - Copy and paste. Listenable, but B-side ranking in the stack. Just not my preferred neighborhood. Have friends who have a band plays a lot of this sort of stuff -- heavy NOLA influence. Fun to see live, not my first choice.
Track 05 - More clarinet but with bad sound. Nope. I think I only know the parody lyrics to this song if it's what I think it is.
Track 06 - Time period is closer, but something not working for me about the horn lines. I don't mine discordant, but not sure it works here. Rhythm of the trombone seems sloppy. Maybe by intent, but sounds more like it's just... off. I hate to put it this way, but I'm just not buying it. I'm missing the story. Things trend up in the exchange section and the bass solo, but overall a whiff for me.
Track 07 - Seems to have a contemporary classical bent. Generally not my thing. The flute is interesting, the horns/tympany aren't doing it for me. Just shy of 2:30, goes into a very pleasant place. Maybe not my first choice from the stacks, but a very enjoyable feel. Lop off that intro, and I'm in. When the pace drops off, so does my interest. Nothing against slower pace, but this just isn't maintaining my interest. Purely a matter of preference, but not for me.
Track 08 - Yes, please. Vampy bass line and hand drums? Absolutely. Kinda hoped it would head somewhere. Enjoyable, but lacked a payoff.
Track 09 - Like feel of this. Almost a Tomas Stanko vibe. Really appreciate the control of the bass solo. Taking what's there without giving the sense they're trying to show what the intracies of what they know. Pianist could learn a bit from the bassist in that regard. Drummer is supportive and doesn't get in the way, but the bass is the highlight for me.
Track 10 - Like this a lot. No idea what I'm listening to. Obvious guess would be Bechet, but sounds more like someone embracing the style (or a conntemporary).
Track 11 - 'Sposin' I'm not sure who this is. Enjoyable.
Track 12 - CLIFF! Track A4 from this. This showed up in the stack of a late relative, sans cover. I was already a big Clifford fan, but wasn't familiar with this at the time (though knew the tune from the pop cover). Clifford is one of those lifetime talent-deserving-wider-recognition guys for me.
Track 13 - At first I was thinking Earland, but it's McDuff. I can't tell you anything else about it, though. Not sure who the tenor is, but I didn't really feel it.
Track 14 - This is tough. As a curmudgeon, I'm supposed to be cranky about this borrowing from Coltrane/Alice Coltrane, but I love this. I'd take 14 cuts like this. Okay, I thought it was heading in this direction. McCoy's tune, so that part tracks. Piano had me thinking McCoy on the wrong speed, but the feel is there. Possibly early Joe McPhee? Reminds me a bit of Nation Time in terms of sound and feel. Not sure I fully buy the drummer, but the feel is right and I'm going to give him a pass. This has feel and story. 13 more of these, please.
But for track 12, all new to me. Likely give this another spin at some point just to listen.
I'll be damned. I was going to say Getz on track 01, but thought my ears were being too basic. And I HAVE that set (but I'm not a big Getz guy). -
Sorry, clarification: Uploaded where?
Nevermind, I think I found them. 1-6 & 34, yes?
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5 hours ago, felser said:
Or Shazam time.
Don't you blaspheme in this house!
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35 minutes ago, Dan Gould said:
Here's where I should remind people that there was a data loss at some point. Before an old BFT gets archived you should check the forum and verify if a Reveal thread exists. Putting up a BFT without the answers would just be cruel.
OR the ultimate challenge!
I get that, though. Just seems like there's an awful lot of music that has been shared and there were good reasons why people opted to share it. I think of a guy like Bill, gone now, but who definitely contributed a lot of stuff that made my ears smile. I'd like to see that documented (and I have to apologize for the absence of a Cardinal photo in the set that was baseball cards -- I just went with the numbers of the cards -- iykyk). -
11 hours ago, JSngry said:
How far back would you like to go?
I'll go back to BFT001 if they are available.
2 hours ago, Dan Gould said:I think maintaining the archive is good going forward and for the immediate past but I wonder whether anyone goes into it and listens or downloads a compilation from 8 years ago let alone 10 or 15 or 20, if they were archived.
True enough (though, for the record, it's online-only, no DLs), but I know I'd actually go back and take ones I missed. I'm not planning on dying all that soon, so in theory, this could be in place for awhile and would be a neat document to the history of the BFT here on the forum.
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I've completed the bft archive back through 2016. I'm going to stop there because that's where the bulk of the data runs out. To that point, only two tests were missing, but one was still active on SoundCloud. The other was only shared via bandcamp and seems to have been deleted. If anyone has access to BFT's from 2015, back, and is willing to provide them, I'll keep building it back. For 2015, I'm missing two tests completely (#140, and #132). Otherwise, I could do most of 2015. Long story short, I'm a stickler for completion, so if anybody has them and is willing to share, I'm willing to add them to the archive.
Archive can be found here:
https://thomkeith.net/blindfold-tests/archived-blindfold-tests/ -
General house keeping comment
I've got the archive complete through 2017. With the new site setup, I've changed the instructions for naming files for the BFT. In short, if you follow the new instructions, uploading becomes a breeze and very little time is wasted (as opposed to what I'm going through building the archive). Please and thanks, take a look at the instructions here:
https://www.organissimo.org/forum/topic/83336-how-to-setting-up-a-blindfold-test/ -
I think I was shutout, here. I know I'm in a bit of a funk today, but the first part of the test missed hard. After that I actually enjoyed listening to most of it, but more as background. It happens.
Track 01 - First phrase had me kind of excited, but this head is a bit mathy for my taste. It's good, and they can play, but you really feel the energy kind of lag once the improv begins. Almost like they're not in the same room (to my ear). I'm sure I'm just being a curmudgeon, but it seems to lack dynamics. I like the tenor player's sound, but it's got that same thing going on. Crazy technique on both players, but I'm just not convinced they mean any of it. There's a guy who posts horns he's selling on FB, and he can play like this (and does so to demonstrate the horns), but after about three horn ads, you realize it's just a memorized series of patterns. It's impressive technique, but there's no story to it. As Henry Threadgill has said, "muscle memory can be a dangerous thing." I like the bass solo, but the drummer needs some decaf (let it breathe, MF!). Impressive mucisianship, but the track is a miss for me.Track 02 - Nope. Reminds me of Vijay Ayer's Fieldwork. It's interesting, but seems more busy than musical. Maybe I'm just old. 4:30 is all I could take.
Track 03 - A thousand percent more to my liking. A touch of Pharoah in the tone. Right up until about the 2 minute mark when we go full-on into the practice room. I just don't understand why technical facility needs to translate as boring. Maybe I'm just old. It's a nice melody, and they clearly can play, I just wish they'd stayed with what the melody sets up for them. Sometimes I'm bothered that I don't get out to check out "new" stuff that much... this is why.
Track 04 - This one hits better than the last -- I like the trend. Arrangement is interesting without getting in the way. There's a story here. My ears are telling me these are older (maybe over 50) players. So far, I don't know anybody for sure, but these are unique voices, particularly the alto. It stays within itself and remains musical throughout. Arco bass! What the hell happened to THAT technique!?! Everything about this one works, even the busy head.
Track 05 - Really like this. Has a Cecil Bridgewater feel to it. Quirky and angular, but the story is here. Again, they're staying within what they setup, and it doesn't try to do to much; it doesn't have to.
Track 06 - This didn't really hit me in any direction. It was pleasant enough, but about 5 minutes in, I realized I wasn't really listening. Nothing wrong with it, just didn't grab my attention.
Track 07 - Another pleasant listen, but not really grabbing my full focus. That's a description, not a criticism. The last two tracks have been just about perfect for me to continue working on things. I'm enjoying them enough to focus on the task at hand, but not really connecting with the music.
Track 08 - Happy Birthday (I'm going to murder you in your sleep). Meh. Just, why?
Track 09 - That's Fathead. I could listen to him play ballads all day long. The story. It's here.
Track 10 - A powerful tenor sound, and certainly a guy who has listen to Fathead. I don't care for the "squiggle" he's putting on notes for affect, but on the whole, I like this. There is thought, here. It's a modern guy, but not someone who just sheds their Brecker. And as soon as I type that, he starts ripping the altissimo lines I was critical of on an earlier cut. Still, this feels real to me. Not sure I'd buy it, but if I were seeing this live, I'd have no complaints.
Track 11 - Gonna sound weird, but I know that count off. Huh... maybe not. I have something in my collection that starts like that, though.
Track 12 - Didn't care for that beat right off the bat. Can't explain why. It just clashed for me. Trends a bit commercial for my taste. Reminds me a bit of some of what I've heard from our host. Tenor reminds me a bit of Sean Berry. Hmm... kinda has to be Alfredson, doesn't it? Nothing wrong, here, just not in my wheel house. My ear wants Fred Wesley to be playing trombone, but it's not to be.
Track 13 - A-ha! THAT's Jim. This I've always loved. I think this may have been on a BFT at one point. I know it's on my HD in the car, and always makes me smile. This does all that it's supposed to. Wait... this is NOT that. I mean, it IS, but this is not the version I have. Now I don't know what it is. It's that song, though... can't for the life of me remember the title. Either way, this works completely.
Track 14 - What? Ohio Players, right? I mean, obviously this is not them, but that's who did it iirc. Probably be fun if I were there when this happened, but this is just weird. Reminds me a bit of Material's Memory Serves.
I might revisit this for another listen when I'm not in a funk.
On 5/1/2024 at 2:57 PM, Dan Gould said:To have missed Fathead twice in a couple of months is just pathetic.
Trying to figure out the release but discogs is not functioning for me.
From The Blessing ... don't think I have that one so there's that!
I got him this time, but I missed him hard (as in didn't care for it) last time. He did that r&b thing better than anyone for my money, but I don't always want to hear it. This, however... this hits.
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1 minute ago, Dan Gould said:
Actually @felser and I determined it was probably a reaction to Spaulding on alto.
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).
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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.
On 3/31/2024 at 4:59 PM, Dan Gould said:I took 1/2 a star off for Hank Mobley soloing? WTH is the matter with me? <Hangs head in deep shame>
That's better.
[we all get fooled on occasion, bud]
On 3/31/2024 at 8:05 PM, JSngry said:Tractor?
Model 241 Massey Ferguson. I am a nerd, but didn't know that until I searched for an image of the number.
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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. -
1 hour ago, Joe said:
@tkeith Some players with a sense of humor. Roswell Rudd on trombone… feels a bit more controlled and traditionally virtuosic to be Rudd, but the spirit of Rudd is there. Now, that did not go where I thought it was going to after the head, which was rather Ornette-like. Now it’s almost high life. Is this Charlie Burnham on violin? Liking the call and response between the two leads.
Not Roswell, but certainly descended from that school -- ID'd by JSngry as Ray Anderson. Not Charlie Burnham.
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1 hour ago, JSngry said:
Speech bothers some people, so let's call it language.
But either way, this is where Jazz 101 fails. They attempt translation without understanding the language to begin with.
Amen, brother.
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10 hours ago, JSngry said:
@mikeweil Yes, that is Roy Eldridge!
And "stompy swing" is an exquisitely apt description! Not just for the playing, but for the feeling it engenders, like, it gives you something solid to dance on and to. Like stomping itself is generally a graceless act, and swinging is better than not swinging, but still..."stompy swing" is just...right!!!
@tkeith Is your cut by Ray Anderson?
Yes. Your ears were not wrong.
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3 hours ago, Dan Gould said:
You obviously have far wider ears than either of us. You and I have a fairly large sweet spot we share, Felser and I a slightly smaller one.
You and he would have more to enjoy together, no doubt, since so much of what you deeply enjoy is, I think, the focus of John's listening, most of the time
I wouldn't decline an invite though.
Careful -- I WILL make this happen!
2 hours ago, JSngry said:@tkeith You nailed it on Illinois, Roy, & Jo. But I don't think of Roy as having a "shtick". I think that's his voice, period. Same thing with his burrs. They come natural, it seems to me.
Bottom line - personalities aplenty!
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.
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On 3/2/2024 at 9:45 PM, Dan Gould said:
For me, It's Ervin mixed with Coltrane/Sanders to great detriment. Sorry my 2c.
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. 🤣
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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. 🫣
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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.
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And, I spoke too soon. Now I'm only seeing #239. Jesus H. Tap-Dancing Christ, I hate WordPress!
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21 hours ago, webbcity said:
webbcity track is "El Toro," track #6 from Frank Gordon's Clarion Echoes:
https://www.jazzmessengers.com/en/8647/clarion-echoes
@tkeith - note the tenor player!
This is an LP I picked up just in the last 6 months or so... based on seeing said tenor player amongst the personnel. A good record!
oh, and @felser ID'd this one... by cheating!
Wowsers. I hear it in the sound, now, but odd that he struck me as the low point on the cut. Need another listen.
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Checked in three browsers, not logged in, and I see all the tracks. Sounds like a cache issue on your end, Dan.
BFT 243 Discussion
in Blindfold Test
Posted
Sweet Little Sixteen was the Chuck song I was thinking of. (You really don't want to know about the other one.)
@Dub Modal, Edmund Hall makes sense, as he's one of the few clarinetists in my collection. Apologies, I overlooked that McPhee was correct. Is this, then, from the expanded set of the Nation Time stuff?