tkeith

Other than Rene?

frayed knot

I may try some sleuthing as the month wears on Dan, but I prefer to let the knowledge base flex before I do that.

Such Great Frenemies. [see what I did there, John?]

DAMNIT!

Alright, to be fair, I got an advance listen in on this two days ago -- sue me. That said, I've ID'd not a damned thing! A lot of interesting blues-leaning stuff in here. A few whiffs for me, but that's why we're all sharing our own stuff. Thanks for the listen, Dan! Track 01 - Straighten Up And Fly Right, but by whom. First thought was Gator, but it's more somebody trying to play like Gator to my ear (that will start a fight, but that's what I hear). Recording sure smells of Concord. Not sold on the spoken word. A fun ride, but not fully sold on it as listening music -- more party music. Track 02 - In. All in. Take my money. I don't know who, but I love it. Patient, just telling the story. Egos left in the breezeway, nothing but the blues in this house. Track 03 - Off the basketball court, I've always detested this tune. Almost a Zoot sensibility, but doesn't have that warm core that Zoot has. That's not a criticism (even though it sounds like it). It's cooking in its own right, I'm just not sure who it is -- but it ain't Zoot. Track 04 - Blue Moon, not sure who by. Someone of the correct era, but I'm not in love with that dry tone. At points I think I'm going to like, then it just sounds like it's missing something. Can't put my finger on what it is that doesn't reach me in the tone other than that word "dry". Clearly a real player of that era, though. Has that classic vibrato style. I'd guess mid-50s, or at least that was this player's prime (maybe even a bit before). Okay, is that the same guy on alto, now? Because that would help explain what I couldn't explain before. The ideas sounded like somebody like Marshall Royal, but the tone was... I don't know, part Arnett Cobb, part Al Cohn. But the ideas sounded alto to me, and that would explain what I was hearing in the tone. A round about way of saying I don't know who this is. Track 05 - I like the brass arrangement. The electric bass? Notsomuch. Can't say I know who this is, but I like it. It's understated. Track 06 - Somebody likes Cannonball nearly as much as I do. It's got what it's got -- no getting around that. Gets a little showy around 2:30, but it works. I feel like I should be able to make a guess on this, but I got nothing. Gets a little way from what it had around 3:15. Still works, but not something I'm coming back to. For a bit, I actually thought this might be Nat, but it's not quite there. I don't know it is, only who it is not. Track 07 - I don't care for Captain Growls in the least. The arrangement has the feel of a Peter Apfelbaum date, but this may be earlier (or at least concurrent). It's a conservatory boy, for sure, just not sure which one. Somebody who has listened to a lot of Coltrane, Joe Henderson, and Charles Lloyd. Can play is butt off, but I'm not hearing a unique voice in there. Rhythm section does less than nothing for me. It's an Austin Powers cut -- it's not my bag, baby. Track 08 - Again, the Concord sound. I don't know the player. Real guy, but more from the blues angle to my ear. Again, this is going to get me in trouble, but it feels like it *wants* to swing, but can't quite get there. Track 09 - Oh, this is SUPER familiar. This may actually occupy a shelf in my CD room. Pianist nearly tripped over his fingers, but totally understandable. Not sure who it is but reminds me of the dude that played with Art Pepper, Milcho, in terms of his aggressiveness. That left-hand almost has a Horace Silver thing going on. That right-hand is an absolute bitch! Could this be the Gene cut? Tenor has shades of Big George, but not him. This guy has all the technicque of Captain Growls on track 7, but this is far more musical to my ear. I should know this player, and I'm coming up oh him each time his car pulls away from the curb (it's an early 70s Lincoln, by the way). Track 10 - It's not over -- there's three more tunes after this! I don't know these players, but they are accomplished players to be sure. Some hints of James Spaulding in that alto, but I think, again, more of a blues bend. Could well be Pat Martino. Not sure about the trumpet. Aquitted himself well, but sounded like he was right at the edge of his ability to do so at this tempo (understandable). Sounds like Cedar Walton to me. Is this, perhaps, one of those Newport Jazz Festival Presents bands? If so, maybe Randy Brecker on trumpet. I'm a broken record here, but has that Concord sound (which always makes me think George Mraz). Hmmm... nope. Not brassy enough to be Randy. Almost sounds like George Adams beating on an alto. Track 11 - Alright, damnit, that's GOT to be Gene and it IS Concord. Hmmm... who IS this thick reeded, breathy saxophonist. Like if Jimmy Forrest and Von Freeman had a child. Track 12 - Recognize the tune but can't give you name. Lyrics are ALMOST reaching me. Let it shine is in there. I do not know who. This is an area that's pretty thin in my collection, the second-line neo-gospel feel. It works, though. Hmmm... a 2-Gene BFT? Track 13 - Hmmm. I wanted to say Jimmy Forrest, but I'm hearing later Illinois Jacquet (Black Lion years). Bad MF whomever it is. A whole lot more of this, please.

Love the subject header on this thread. Well played, sir. Heck, I'd sign up for a monthly foray into the Felser collection!

Jeez, Julian!

Listening to this again, and not sure what strain was involved, but this is NOT in 3, but 5 (so, I guess 'half three'?). Egad.

Agree on Caliente. Will find para Los Amigos. Thanks!

Great explanation, felser! I have pretty much all the Gato up to Last Tango (I forget the actual title -- live recording). After that it's spotty, because the vast majority is utter crap. So unfortunate, because he had such a beautiful sound. To my ear, Jeff Coffin owes a heavy nod to Gato for his tone.

I was confused by the Gato thing, too, man. I finally just accepted that I'd missed something.

Just a heads up -- where I referenced posting links, I did include them as hyperlinks on the word "this". Jim, with due respect, I'd say there's a great deal to appreciate about Mssrs. Brown and Barnes on the Parker cut, though I agree with your broader assessment. I kind of see Flip like Bill Hardman with Blakey's band -- not the guy who makes you ignore Lee or Freddie, but an integral piece of the band and what it does. Likewise Brown. Maybe a good comp to Odean Pope with Max.

Getting in early on this one. track 01 - FUNKY NASSAU!!! Tim Webb hipped me to this years ago. LOVE IT! track 02 - Sure sounds like Joe. Yeah, that's Joe. I have something equally weird and commercialish that he was on. No idea what this is, but that bass seems pretty prominent in the mix. Perhaps the leader? Love Joe, and this is a great listen, but man, those effects get to me quick. Oh, violin. There's a clue. Sounds like Urbaniak. Could me someone more out, but I'm not getting that vibe. Harp!? Is this an Alice Coltrane thing? Alright, curiosity got the better of me and I sleuthed it out. Not going to post the answer, because I didn't know it, I had to seek it. Very interesting. track 03 - Black Coffee, but by whom? Really like this version, though not entirely sold on vocalist. Oddly, Iwarmed up when she started scatting -- not usually the case. Yeah, this is a keeper. interest piqued. track 04 - Was thinking Lovano at first, but that's Charles Lloyd, Joe doesn't have that warmth. Gotta be from Hyperion With Higgins, but I haven't heard that in years. track 05 - I'm trying to find fault with this (beyond the attrocious sound), and I got nothing. What the hell IS this? It's banging, and while it definitey is derivitive, it is done VERY right. It's got edge, it's got Turrentine soul, it's got facility. What the **** is this?! Even when it goes all Coltrane-flury, it works. Sounds like what I always wanted Courtney Pine to sound like. I gotta have this. Drums are too busy, so I'm guessing his date. I'd guess Ralph Peterson, but the presence of the organ has me leaning towards Cecil Brooks, III. How'd I do, coach? track 06 - Little Sunflower, in an obvious sense. It's not Freddie, but someone who likes him a whole lot. Not Eddie Henderson, tell-tale signs are missing. Not Woody. Not Kenny Wheeler, though that feels closest. Could be later Kenny, I guess, but really doesn't feel up to his level. Okay, here's a weird thought. Not getting a clear shot to either guy, but given the instrumentation, I'm going to say Chuck Mangione's band with Chris Vadala. I'm either nuts, or I nailed it. track 07 - LOVE THIS tune! Man, she was SO hip! For my money, this is THE female Jazz vocal album. Do I need to put a link up? I mean, this fools no one, but is still a great call in this mix. Outstanding! track 08 - OH YEAH! Cactus dances to the radio! Never gonna get these guys by me. I would argue this is top 3 Jazz albums of the past 20 years, easily (though, I might be RIGHT at that 20 year mark, huh?). Leena is pretty friggin' hip herself. track 09 - This is the first miss for my ears (camned electric bass does it every time). I don't know this, but it's groovy. That's both the best and worst part -- it's groovy. Could be Harold Alexander, but I haven't heard him go this far in that direction. Latin/70s/vibes... Dave Samuels? track 10 - This just makes me want to get in a big, 70s car and try to outrun Roy Scheider. Oddly hip, oddly pop-ie. I want to like it more for some things, and I want to loathe it for others, but I can't quite get to either point. It's in 3, so... there's that. Curious. track 11 - This is one where I would crop right to the time section. I understand what they were building, but I think it stands fine without that piece. Can only tell you who the soprano ISN'T. Piano sounds somewhat familiar, but could be the sound (has that distinct India Navigation/MPS sound quality -- or lack thereof). That is a RAW trumpet. Seems like if Raphe Malik was flirting with hard bop. Love the drive of the feel, even though the individual components aren't totally hitting. Pianist commits, I'll give him that. Overall, I'm not in love with it, but it works. Could be one of Joe McPhee's things, but I tend to hear his soprano as stronger. track 12 - Who's that fighting the unemployment stick so hard? Sure sounds like McBee's bass. Could be Joe Bonner on piano. Okay, so he's a tenor player who plays soprano. That breathy vibrato should be a better clue than it is. Sticking with Cecil/Joe... although, are there TWO bassists? Now THAT's interesting. track 13 - Varitone bass clari? No, that's soprano and octavia. Has drive and energy and isn't afraid to take aim and let loose. Be that Mr. Young? Seems like [insert 70s rock drummer here] getting together with a Jazz jam. Varitone is dominating the natural sound of the horn -- not my preference. Decidedly Hebreic approach. I think there's a better vibe being laid down than one the sax player is doing with it. Seems too learned for what the rest of them are doing. Quite a mix, man. You do not disappoint.

Apologies in advance for somewhat terse commentary -- relegating to typing w/left-hand for the time being. Also accounts for late showing and typos. track 01 - no idea. Tune sounds familiar, style does not. track 02 - Has an odd feel to it. Doesn't seem to quite swing, though it wants to. Seems like a modern player than sound/style would lead one to believe. Not Lemmie, but adjacent to his style. track 03 - Recognize this. James Carter from Chasin' The Gypsy. Love James, but really he could forget who he is sometimes and just play. That said, La Danierre Bergere on this album is epic. track 04 - no idea. Not my style. track 05 - A little toomuch polish to my ear, bt still enjoy the general feel. No guesses. track 06 - Can only assume Django. Don't really have the ear for this style. track 07 - Not sure I' im the mood for this. No guesses. track 08 - Like the way the trumpets work against the arrangement. No guesses. track 09 - You and the night and the music. I think I have this. Hmmm... I do not have this. Feels European to me. track 10 - Well, that came out of nowhere. No guesses.

It's funny, because of ALL that class, Alexander is my guy. This one just didn't hit for me. So that WAS Mike DiRubbo. I thought I was being coy with that one. Ironically, I only really know who he is because I'm such a fan of his ex-wife's playing (Lauren Sevian). Hah! Of COURSE I liked the trumpet solo -- it's Klax!!!! Love his writing, as well (worth seeking out).

This one had a divisive feel for me. Some of it I really liked, some of it I really didn't. Still good exercise on the ears, though! Track 01 -- Seems like a good opening theme for a radio show. St. Louis Blues, obviously. My obvious guesses would be Fatha Hines, but is isn't. Maybe Meade Lux Lewis? Third listen. That tenor, it's bugging me. That's a young Jug, isn't it. I'm going to switch gears and say it's Albert. Track 02 -- Obviously a live date. It's simple but honest. I don't think I know the tenor. There are moments where I feel like it's maybe Chico, but it's not. Maybe an early Joe McPhee? Track 03 -- Well, that's Phil Woods before he bought into being Phil Woods (really feel his stuff after 1968 is lacking, but that's just me). Don't know the vibist. I like the tenor, but there's something very sloppy about his articulation. I'm guessing he's a doubler, though I can't say what the main axe is, only that it's not tenor. The whole feel here is that it wants to swing, but it really doesn't. Tempo is rushing badly in the guitar solo, but it's not Art Taylor. Track 04 -- This is quite a switch. Has that Ibrahim feel off the bat. Not him. Not sold on that melody. Almost sounds like a Chuck Mangione thing, but I prefer Chuck's writing. Piano has a nice feel to it (really embracing the Ibrahim feel, but not him). Improv of the trumpet is much more to my liking. Maybe John McNeil? Not in love with the unemployment stick. A decidedly Hebraic approach. Don't think I know this player. Has that feel of 80s Jazz, which explains my aversion to this melody. Track 05 -- Tune is Lucky Southern, but it's not Keith's version. I did a session with some alums of a music program in western NH a few years back. They all knew this song (I did not, at the time), but didn't know Walkin', Firm Roots, or several other songs that, to my ear, are far more worthy. Track 06 -- Oh. This just took a turn. Sorry man, but there's too much here that I dislike on this cut. Electric bass, compressed drums, and that horrific 80s keyboard. Not to mention, the song is... well, lame. I'm trying. That's Pat Martino, but not his output that I care for. Don't know the tenor. Somebody from the conservatory set. Not Branford or Joshua, but someone from the same era. And now we're at the keyboard solo. Hard pass -- I'm out. Track 07 -- I like the bass line. Okay, didn't see it becoming this. Bohemia After Dark, but I'm not the least bit familiar with the guitarist. It's not Pat, but he owes Pat lunch (or she). Man, what happened to music in the 80s. It's not that there's anything "wrong" with it, there's just no soul to it. And more compressed drums. I'm out after two minutes. Track 08 -- Well, this is going to be Stolen Moments. Needle drop... that's promising. Guitarist is in love with reharmonizing the melody, which is completely unnecessary. Maybe Dave Stryker? I like the bass, a lot. In fact, both the drums and bass are very supportive. The solo is nice, I just don't care for the way he's butchering that melody. We get it, you can play extensions. In spite of what was done to the melody, overall, I like the cut. Track 09 -- i know who, but not what. A friend once described the female vocalist as, "sort of comforting, like if my mother had been a Jazz singer." I never really warmed up to her, but she can sing, no doubt about it. This feels a lot like a children's song, which is fine, but I'm not sure I'd go back to it. So, I'm not familiar enough with her work to tell you what the tune or album is, but it's clearly Sheila Jordan. I don't know the other voice. Track 10 -- Another needle drop and more guitar. I don't know this music. It's there, but doesn't really make an impression. Track 11 -- Is this an actual bop tune? Seems more like it's written in that style, but I can never get the titles of those tunes straight, anyway. This wouldn't be my first choice of instrumentation, but all are terrific players. Don't know who it is. I like it fine, but not sure I would pick it from the stacks. Not in love with the drum solo. Maybe Alan Dawson? Track 12 -- Cherokee fools no one. Not a band I know well. Has a bit of the feel of Maynard's early 60s band, but not as in your face. Don't recognize the soloists. If this was on at someone's house when I walked in, I'd love it. This is a good cut. Track 13 -- Like that bari (and another needle drop). Okay, tearful willow it is. Man, that baritone is beastly! Dense band. The alto is not who I want it to be (Sonny Criss). It takes a turn there, but I like it. Same idea as the previous cut. I don't think I'd necessarily reach for it in the stacks, but if I walked into someone's house and it was playing, I'd be pretty excited. Track 14 -- Too much head. Like someone spent a month listening to Tristano and Dave Holland, then wrote this. It's too programmed. Interesting that the head goes through so much effort to be in broken time, but when the solos start they go to straight ahead 4/4. Not feeling this one. Don't know the flute. It's newer guys. I don't know who they are. Tenor reminds me of Ralph Bowen, but less of a story. Alto could be somebody like Steve Wilson or Mike DiRubbio. Is that a bass clari? Man, I heard a dude in Montreal about a decade ago that all but ruined that instrument for me. Imagine Joe Henderson playing bass clarinet. This dude was a BAD MF! Name was Mathieu Belanger. This is not him. I know that Barney McAll writes a lot of angular stuff like this, but for me, this just missed. Track 15 -- Drums push kind of like Han Bennink, but this sounds newer. Not sure I love the guitar, but he's original... touch of Sonny Sharrock, but just a touch. Really like the overall feel of this. After the two minute mark, it's going a little Bitches Brew. Not in a bad way, but maybe extending a bit long. I like the feel more than I like the solos. Feels like guys "playing out" as opposed to out players. Yeah, the alto misses for me. Too bad, because the rhythm section is giving him plenty to work with. I like the trumpet, but again, seems more like a guy "playing out" as opposed to being an out player. The trumpet solo works, though. Overall the track works, but for the alto solo. Interested in what this is. Track 16 -- Feels like a soundtrack. I don't really get it. Track 17 -- What!? No idea. Track 18 -- Getting to Know Wayne. Wayne fools no one. Clearly Cedar Walton. I've got it on the Vee Jay box set. No idea what it was originally released on. Yeah, that's Blakey, so this was likely from when he was a Messenger, but not a messenger date. Feel like I need to qualify the statements -- I always just do a stream of conscience when I take the BFT. Reading it over, seems like I hated it. I did not, though there were several misses. Love the Shorter tune for the closer.

Well put.

I'll speak only for me -- I'd LOVE to. I just repeatedly prove incapable. If I could get that Shepp thing in my playing, I could get by on one leg.

Limited knowledge, nowhere expertise. I'm basing this on a combination of my ears and my own studio experiences. Every GD piece of the drum kit is mic'd by it's own mic. Go look at the videos of Monk's band being recorded (with Rouse). Couple of mics above the kit (which is how I STILL do it when I record drums). I went into the studio with a rock band, we laid down one take (which could have been a rehearsal if they'd just done a couple more), taking about 5 minutes. This was after watching the engineer putz around for nearly two hours. For the next eight hours, I watched this guy play reindeer games with everything from compression to digital manipulation of individual notes on individual tracks. Finally got fed up and offered to play him a scale and let him construct his own solo for my part. Music isn't heard from the surface of the instrument, it's heard within the ambient setting. That's why RVG's work was so great. Everything now is hyper-polished and completely unreal. It's like we record in virtual reality. I freely admit to being a curmudgeon, but my ears tell me I'm also right. Case in point: Name ONE recording that is better than Kind of Blue. #IsNotPossible Mind you, I'll listen to someone with expertise explain all of this, but that's what I hear. I loathe recording engineers as a species.

Must be Brian Blade, then. Me, too. I'm now "semi-retired," (meaning I got sick of the BS and walked). We shall see.

Track 01 - Loving that tenor sound right off the bat. Gut instinct says it’s Reverend Frank. Has an edge of David S. Ware (speaking in terms of technique, here). Digging this tune. OOoooo! A full band! Tim, sounds like Traveler of Tomorrow a bit, no? Man, I love the in-the-tradition stuff (listening and playing) but THIS, man… this is where it’s at for me. Too structured for Reverend Frank. Thinking someone out of Bowie’s neighborhood. Has the drive of some of Johnny Dyani’s stuff, but I believe this to be a little later. Not entirely certain what this is. I AM certain I don’t have it, and I WILL need it. Track 02 - Not enamored of that snare sound. Vijay Iyer comes to mind, but I don’t think it’s him. I like it, but it tends toward busy structure. Drummer needs some decaf. Love the bass, but wish it was more out front. Ah, there we go. Could be a Holland project (loving bass, finding frustration in the music). I’d probably like this more live or if it were recorded earlier. Those drums reek of an overzealous engineer itching to prove how much he knows about Munson curves. Split decision. Like the idea better than the execution. Love the bassist. Track 03 - Early feel has that heavy McCoy influence. Then it felt like a Woody Shaw date from the early 80s. Trumpet is more towards Freddie to my ear. I like this. Not sure how unique it is, but it sure is done well. Has enough fire to be real. I need to know these guys. It’s too close. Man, that sure sounds like Avery Sharpe’s bass to me. Not McCoy, but owes him lunch for a year, at least. This is pretty bad ass. Again, don’t have it, need it. Feel like I’ve got big holes in my collection because I was a Hank Mobley snob when this stuff came out (guessing mid-80s). Still don’t think it’s McCoy, but it is SPOT on. Maybe Al Foster on drums? Seems a bit tighter, but the general feel and touch is right. 7:35, that piano line! Not Avery. Really sounds like Ron Carter about 8:05. Gotta be Ron. Man! This is a bitch! Why do I NOT have this? Not Al. Almost sounds like Tony Williams in the 4s section. Man, this is WICKED! It’s not Hannibal, but has that feel. MORE!!!! Track 04 - Alright… who’s mellow mixed with Sonny Fortune? Wait, no mistaking Booker Ervin. Not going to lie, had to sleuth the hell out of this. I knew it was Jaki. SHOCKED that that’s Alan Dawson! It’s Track 3 from this. Don’t own it. WILL fix that. Track 05 - Of course recognize the song… but a title? Nope. Chick Corea tune, right? This works, across the board. Oh! Wait! No, Kenny Wheeler. ‘Smatter? Wait… GAH! WHAT IS THIS!? Aw, man… sure hope somebody nails the title or I’m not sleeping until September 30! Fourth listen — I’m going to say Roy Haynes is the drummer. I know that bassist, but I don’t have him. Pianist could be many guys. I’m starting to think this is an “original” taking from all the sources I guessed above (hell, we ALL do that). Track 06 - Okay, yup… recognition, but no name for the track. iTunes has ruined me. Obviously not the original. Recognize the tenor, not Wayne. Pre-conservatory guy, but not quite the facility of Wayne. I know that sound. HOLY! Took some sleuthing, but I found it. Mainstream! My mind took me to a Miles tune. Man… couldn’t BE more wrong. Side 1, Track 2 from this. Track 07 - Man, I like this. The Brass Company meets John Handy! With a touch of who-knows-what mixed in. That left hand. Is this possibly an early John Hicks date? I don’t know of anything that early. Oh, wait. No, that’s Joe Bonner. Beautiful tune. Feel like I know it, but again, I probably don’t. This test is going to cost me money. Track 08 - Wanted to like this, but it seems to devolve into an angry Eastern European frenzy. Was leaning towards Cecil, but then it got silly. Loved the opening bass work, but I got lost thereafter. Track 09 - Electric cello? Has a very call-to-prayer feel. 11/4? Like the feel once it gets into it, for sure. No idea what it is. Part Threadgill, part KVM, part Masada. Like if Barney McAll wrote for the Little Huey Orchestra. I’m in. Not sure how you categorize this, but I sure would love to be there as it’s happening. Runs long when the guitar starts in, but that’s probably my snobbery as much as anything. I’m intrigued. Definitely music to be witnessed more than heard. Track 10 - Stafford James, without a doubt. Oh. Side 2, track 1 from this. Had a chance to see LH a few years back, but my damned cousin got married the same night. From all reports, I missed an event. Track 11 - Bang! Track 5 from this. I didn’t miss Bang. He played as part of the Waterville, Maine film festival. A friend helped organize it and steered the them towards Vietnam in large part to bring Billy in to perform. It was epic. One of the most compelling musicians I’ve ever watched perform. The dude was as real as it gets. Frank Lowe and Ahmed Abdullah were with him. Mike Carvin, too. REALLY miss this guy. This is the “sequel” album. Between the two, to my ear, there’s not a lost moment. Track 12 - I respect the musicianship, but this just misses for me. It’s close, I mean it’s right there. A former student used to tell me, “Keith, you know Klezmer started as a defense.” Made me laugh every time. Man, I’m KIND of in (it really is RIGHT there… I just miss hearing the individual in this). Track 13 - I was half way to asking, “What in the f—?” Obviously a very busy version of What Is This Thing Called Love (and not sure one I needed). Okay, that’s Kenny Garrett being Kenny Garrett. He sort of suffers from James Carter disease. Just *play*, man! No getting around his ability, but two minutes in, I have serious listener fatigue (again, engineer’s syndrome). I just don’t hear the love in this music. Track 14 - No doubt. Reggie. Opener from this. This album always gets lost in the shuffle. I know I’m a broken record, here, but to my ear, it’s because of the way it’s recorded. If this had been recorded 20 years earlier, there would be some breathing room in the sound. There are some great moments on this, but I’d really like to kick the engineer in the shin. Man, there was a LOT to like in this test. Didn't realize how long it was until I finished, but lots of smiles for my ears. This friggin' guy! MAN you have ears!

210! (don't want to live in the past!)

Started thinking about what I like about track 3 and what I don't like. The don't like is that Ben Monder sounding guitar. After a couple of more rounds, I'm going to throw out a guess based on this criteria: non-obscure guitarists I do NOT like. Mike Stern? Track 10 took some sleuthing, and I'm 95% sure I've got it. It started with the realization that it's Robin Eubanks on trombone. Worth adding that the saxophonist is not as well known as an alto player in most circles. Am I warm?