tkeith

Getting in early on this one before life explodes. Track 01 - First impression was Bud Shank, but then he got a little angry and I was thinking Art Pepper. Then I put the phones on and went all Bojack Horseman on myself ["you stupid s$%^"]. Jazz Me Blues from Meets the Rhythm Section. Nice start. Track 02 - A perfect example of why this is my all-time favorite writing tandem in the standard vernacular. Not sure I’ve heard a bad version of this song (though Chico Freeman’s is my favorite). Not sure who this is. ‘Bone comes out of J.J. (as they all do). Tenor is a more recent voice, out of the Lovano school. Not sold on the tenor, but love the cut. Sure it’ll be ID’d by the time I post, but this is It Never Entered My Mind. Track 03 - Has that Scofield sound on guitar, but overall sounds newer. That leads me to think it’s maybe Ben Monder. It’s a nice track. I don’t usually gravitate towards this style/feel, but this works. I don’t know this trumpet player. Track 04 - Angel Eyes. Something about the chord voicings have me thinking Tommy Flanagan, but I’m sure this is later than TF. Definitely not Tommy. Player has command of the language, but I’m not sure I’m buying the story. I don’t dislike it, but it fell into the background. Almost drifts into Mal territory at the end, but not quite. Track 05 - Teased an Ibrahim feel in the beginning, but didn’t go there. Didn’t care for the bass-drum exchange, but man, when the band comes back in, THAT’S nice. Not fully loving the guitarist — plays more like a rock or blues guy playing in this style. Alto has the perfect flavor. Makes me wonder if it’s not something like a Ry Cooder project. Track 06 - Sure sounds like Wayne to me. That vamp… why can I peg it? Elvin-flavored drums with a Gil Evans band feel. Too sane to be Elvin. Could be Joe Chambers. Thinking it’s not Wayne, but whomever it is owes him royalties. Almost sounds like Charles Lloyd at times, but too angry. That cetainly sounds like KB on guitar, but from the CTI period. If that’s accurate, I have no shot, as I was largely allergic to most of those recordings. Digging that bass. Want to say Art Davis, something about that tumbling thump. I mean, thsi all works. I like this. I don’t have it. This track is the class of this BFT, thus far, and that’s not an easy feat. Track 07 - Are we altering Monk’s tune and giving him royalties, or just lining our own pockets? Heavy handed drumming. Maybe Franklin Kiermeyer? Not a thing wrong with it, just doesn’t grab me. One of those recordings that’s so clean it’s distracting. The whole thing feels tepid. Track 08 - Opening drum riff felt like Pharoah Sanders Love Will Find A Way. Clearly, it’s not that, but now I want to go hear that. Not feeling this one. Can’t put my finger on it. Kind of feels like they said “let’s do something really awkward just to be different.” Track 09 - Impressive musicianship. Not my thing. Could be Kenny Garrett on alto. Okay once it gets going, but takes awhile to get there. Again, nothing wrong, just does’t connect. Track 10 - Nice arrangement. Really like the instrumentation, a lot. No idea who this is. Track 11 - Not sure, but man, it’s hitting right off. Well, that’s Yusef. Curtis Fuller — that follows. Oh, wait! That’s not Yusef, it’s Hank Mobley. This is from The Opener. Track 12 - John Lewis Tune. Afternoon in Paris (GREAT song). Definitely liking the turn this test has taken. It’s John Lewis on piano, for sure. Dolphy fools nobody. That narrows things down just a bit. Jim Hall. Benny Golson. So this is from Evolution. Man, I say it constantly, why is Golson NOT in the converation of saxophone giants? An absolute beast. Track 13 - This one works, but I have no idea who it is. Maybe Jim Alfredson? Seems to be a good guys around these parts when I can’t peg the organist on something I like. Man, that track 6 needs to find it's way into my stacks. [After reading] I'll be damned. Should have trusted the ears. Likely have the Gil. How did I miss J.J. on track 2? #FFS Third listen -- something almost Joe Henderson in that tenor. But this guy is his own voice. Liking it more on the third listen. A lot of story here. I hope I have this and am just brain cramping.

Looking forward to December, as well! For clarity's point, when I refer to Tapscott, other than as a composer, but as a concept, I'm referring to the greater community for which he was largely responsible (Billie Harris, Dadisi, Bias, Session, Miranda, Wise, Trible, et al). I knew about the close association with Blythe, but on later realized David Murray and Komasi were both disciples, as well. Love everything about the Tapscott story save for the very end.

Track 01 - Jane Bunnett, Dewey Redman, Dean Bowman, Larry Cramer, Stanley Cowell, Kieran Overs, Mark McLean - Illusion Suite: Maimoun - Sprituals and Dedications Dean Bowman - v; Jane Bunnett - fl, bass fl, ss; Stanley Cowell - p; Larry Cramer - tpt, flg; Mark McLean - dr; Kieran Overs - b; Dewey Redman - ts; Cowell has long been one of my favorite composers. I’m only slightly familiar with Bunnett’s work outside of this recording. I know this version didn’t hit for everybody, but I like that it’s a different take on a tune that never leaves my mind. Also, Dewey. Track 02 - Children's Blues -- Donald Washington -- Uknown what this is from! Donald Washington - Children’s Blues - Album? (recorded off of radio in 1990s) Donald Washington - clarinet, James Carter - contra bass clarinet, Cassius Richmond - alto flute, Faye Washington - flute, Sam Favors - piano, Jeff Bailey - bass, Kevin Washington - drums Okay, so back in the day, if I couldn’t be home for my buddy Ken Eisen’s radio show, I would record it and listen to it the next day. As I was in my late 20s/early 30s, this happened with some frequency. While cleaning through some stuff, I found this tune. I can find ZERO info about where this came from. I know that Washington was one of James’ teachers and mentors, and reached out to James. He was extremely accommodating, but is also a VERY busy guy. Thus far, the closest I’ve found is an album of material with similar personnel who seem to all have been students of Washington, but this song is not on it. Something about this tune just grabs me. Track 03 - Eddie Henderson - Shuffle And Deal - Shuffle And Deal Eddie Henderson - trumpet, Donald Harrison - alto saxophone, Kenny Barron - piano, Gerald Cannon - bass, Mike Clark - drums Wanted to have something straight ahead, but new-ish, enter Eddie. Personnel alone makes this interersting for me. It’s not going to make anybody’s desert island collection, but it’s a pretty good record in a sea of mediocrity that I’ve heard coming out recently. I’ve seen Eddie and Donald with The Cookers a few times now, and never been disappointed by either. Track 04 - Barney McAll - Release The Day - Release The Day Gary Bartz - alto saxophone, Peter Apfelbaum - tenor saxophone, Fabio Morgera - trumpet, Clark Gayton - trombone, Kurt Rosenwinkel - guitar, Barney McAll - keys, Tony Scherr - bass, Joey Baron - drums Barney McAll is absolutely one of my favorite composers. I’ve oft heard the feedback that his recordings are “too slick,” but I think there’s more to them than that (sorry, Dad). Maybe it’s the sound, maybe is the precision, but this is NOT the music of glossy covers that couldn’t find it’s way into my playlists when I had the show. McAll’s horn section has included, at various times, Billy Harper, Gary Bartz, and Peter Apfelbaum. In my book, that solidifies him as for-real. Track 05 - Roberto Miranda’s Home Music Ensemble - Faith - Live at Bing Theatre, Los Angeles, 1985 Thom David Mason - as/ts/bcl, John Carter - clt, Bobby Bradford - tpt/cnt, James Newton - fl, David Bottenbley - g/v/perc, Horace Tapscott - piano, Roberto Miranda - bass, Cliff Brooks - perc, Louis Miranda - perc/v, Buddy Toscano - perc I saw this pop-up in one of my various feeds, clicked the link, heard about 30 seconds and bought it. REAL music by REAL guys. The sound was a very pleasant surprise, as well. Track 06 - The Jazz Crusaders - Freedom Sound - Freedom Sound Wilton Felder - tenor saxophone, Wayne Henderson - trombone, Joe Sample - piano, Jimmy Bond - bass, Sticks Hooper - drums Love me some Crusaders. Wilton’s voice was so unique without being in the innovator class. Always felt he didn’t get proper respect. This band made some VERY good music in the 60s that deserves a second listen. The Mosaic set is excellent. Track 07 - Anthony Branker & Ascent - Sacred Song - Blessings Steve Wilson - alto saxophone, Ralph Bowen - tenor/soprano saxophone, Clfford Adams, Jr. - trumpet, Bryan Carrott - vibes, Johnny King - piano, Belden Bullock - bass, Wilby Fletcher - drums, Renato Thoms - conga Second time I’ve included a track from this in a BFT in the past three years. I knew nothing of Branker, though this album was one of the few to break through it’s glossy presentation into my playlist. I couldn’t find him in the personnel list of his own album and starter doing some searching. He suffered a brain aneurysm and had to give up playing the trumpet, but continues to write and arrange. This record really speaks to me, specificaly his writing, though the solos are rather standard fare. That’s probably not a fair assessment (I mean, it IS good music, even if it’s not going to bump Kind of Blue in the rotation). Track 08 - Vandermark 5 - Stranger Blues (for Lester Young) - Acoustic Machine Ken Vandermark - tenor sax/clarinet; Dave Rempus - alto & tenor sax; Jed Bishop - trombone; Kent Kessler - bass; Tim Mulvina - drums Vandermark is an enigma for me. Sometimes, I love him. Most times, I don’t. I think it’s absurd he got a McArthur grant, but that’s not on him. When he’s hitting, he’s terrrific. A lot of his stuff doesn’t hit for me. This one does. Track 09 - Sonny Rollins - A House Is Not A Home - The Cutting Edge Sonny Rollins - tenor saxophone, Masuo - guitar, Stanley Cowell - piano, Bob Cranshaw - electric bass, David Lee - drums, Mtume - percussion Newk fools no one. Bacharach is one of my favorite composers, particularly pre-1980s. The combination is stellar, in my opinion. Such a great tune, played by SUCH an absolute master. Track 10 - Gary Bias - As Children Play - East 101 Gary Bias - flute, alto & soprano saxophones; Rickey Kelly - vibes, David “Eric” Tilman - piano, Roberto Miranda - bass, Fritz Wise - drums A lot of guesses off the mark on this one, which is always good in a BFT. This is just a good record. That LA scene of the period REALLY produced some excellent music. Initially I was going to include Dadisi Komalafe’s Round Midnight, but it got bumped for time. Track 11 - Horace Tapscott & The Pan-African People’s Arkestra - Little Africa - Why Don’t You Listen? Dwight Trible - vocals, Phil Ranelin - trombone, Michael Session - saxophones, Horace Tapscott - piano, Alan Hines, Louis Large, Trevor Ware - bass, Donald Dean - drums, Bill Madison - percussion, The Great Voice of UGMAA - choir Continuing with the LA theme, had to go to the boss. This, as noted towards the end of the comment thread, is one of the most accessible albums of this band I’ve come across, and I have most of them. Oddly, it was not released until recently. Horace was a remarkable composer, and this album bears all of that out. Put Dwight Trible on an album, I’m probably going to like it. Thanks to all who participated!

Later contemporary of Joe, on a different path. Definitely Bluiett adjacent. This one is going to give fits on the ID because it's incomplete. Agreed, and correct. I wanted to include a track and needed something uptempo -- this seemed to fit. This missed for several folks. This guy is one of the few "modern" writers I really enjoy (keys). I'll agree to disagree on all of the horn players on this, but especially on the soloist (though it is NOT his best work -- not ALL of our work can be that, right? ). Correct. This is a newer release, ID'd above. I took this from the Mosaic set for this band, ID'd above. THAT's the response I was looking for! It *was* ID'd (which gave me fits -- I figured this was one of the tougher ones). Band leader has an interesting story. Neither, but certainly a band content with either of those comps. Indeed! I remember not caring for this album outside of this track (which I bought separate in this digital age), but may have to revisit it. Just felt it wasn't any of the players "best" work (to refer back), but I should give it another shot. It is not. This album has made multiple appearances in BFTs over the years. Agreed. I find much of this album more accessible than a lot of the stuff that was released earlier, which seems odd. No matter -- LOVE me some Tapscott. Thanks! Will post the reveal tomorrow AM. Great blog, by the way!

Yessah! This, obviously, is a digitized copy.

Randy's post sheds some pretty serious light.

No, but a much closer neighborhood. This guy is far less known than Joe, Bennie, et al. To be clear, it is the BASSIST who appears elsewhere. Although, on second check, the saxophonist ALSO makes multiple appearances.

No, sir. Not Joe. Later. It is not. I suppose, the misfires are a clue of their own on this one.

Nay. At the risk of putting some off, I would list this player as more serious. He also appears elsewhere on this test. Correct, sir! Nyet

Nope. I'd say lesser known, but I'd rank this guy ahead of Sonny (most likely would not agree).

Methinks Felser should nail that one.

Yeah, I've hit the online resources hard. I reached out to James directly, but he's a busy dude. I may try the DJ who originally played it.

Alrighty, we're about at the three week mark and James Carter was ID'd as the conrabass clarinetist. The song is called "Children's Blues" and here is the personnel: Donald Washington - clarinet, James Carter - contra bass clarinet, Cassius Richmond - alto flute, Faye Washington - flute, Sam Favors - piano, Jeff Bailey - bass, Kevin Washington - drums Donald Washington was announced as the leader.

well, if I do that it gives away what it is. I'd prefer to hold off a week or so.

Quite, quite.

You WON'T find any record that is obvious. This was recorded off the radio about 20 years ago. I have the track personnel, but not the album name. I've reached out to James for some assistance. He was gracious and asked me to share the file with him, which I did, but I have not heard back, yet. It is NOT his date, so there is still lot's to discuss here.

I hope so, because that IS the correct guess. It's also an important piece of the puzzle.

Let's just say this guy has definitely strolled through Mr. Bluiett's neighborhood.

Negative. The player on the recording is less noted for playing this instrument -- known mostly as a saxophonist, but plays "the full rack" of woodwinds [for the UNH peops]. To be fair... you sir, are not normal. I'll say this, you're on the fast track.

Ding! Ding! Previously ID'd, but I'm'a give you the ding, anyway. Was not aware DT has covered this stuff. As you well know, LOVE me some Dwight Trible! Contrabass clarinet. And I can name two guys who play that, and as Randy discovered, it's not Braxton! Shuffle and Deal, indeed. ID's earlier. Yeah, this guy's stuff is DEFINITEY in our wheelhouse. In fact, I believe I hit you with another of his tunes last time we connected. Newton is correct, and yes, it is live. Another we discussed in our last foray. I mean, this has been ID'd, and yes, DEFINITELY my guys. And, not surprisingly, it's the most in-the-tradition/new-guys-stuff track on the whole BFT. Would you say this abstraction of the blues was worthy of a MacArthur Grant? Because this guy has one. You will recall, I forced you to play this in a duet at a gig... and totally made you take the solo. #greattune Not Cecil, but the bassist appears elsewhere on this BFT. Ding! Ding! Not sure what's going on with the multiple quotes, other than the forum is totally f***ing me this evening. Not today, ISIS... not today. A bit, no?

I supremely hope that you do, because there ARE questions surrounding this!

Not quite.

Nay, sir, but I like where your ears took you. bass clari here is actually a contrabass clari, which is a strong hint. I like the thought, but this is much more recent. No. Again, a more recent outing. Not Maria. Correct, sir! This artist has a very interesting story. Steve gets enough attention -- this is not him. Josh wears PJs with this guy's image (as do we all). Is not, but I enjoy the comp. I think this vocalist would probably cite them all as influences.

Oh, they have both kinds.