tkeith

I've reached out, but not heard back. Does not seem to be online much recently. Hoping everything is okay.

Ding! Ding! Agreed. I came slowly to Heinz, always preferring George (Remember, I was probably 13 when I bought this). But, over time, I really came to appreciate him.

You definitely KNOW the player. In fact, I'd guess this is a player you really appreciate.

Got to see him twice last spring. Man... life changing. I can't say much without giving it away.

Mmmm... you may have your chronology flipped.

Shepp was the guess I was hoping to get. That's a BIG clue.

Correct! Not sure, yet. I think it will, but this track had the best of all (shorter length, good feel). Correct! Flight of i is still my favorite album, though. Right ballpark, wrong composer. ID'd by mjzee. I'm kind of hoping to get a wrong guess on this one. Indeed. You just described this player perfectly, in my mind. Agreed. Right there with you, my brother. You should. Not Bluiett, but this guy would be flattered by the comp, but also has very much his own thing. Give it another spin. I'll be surprised if you don't own this. I agree about what has happened to the guitar sound -- give me Grant Green! You have nailed everything about this except what it is. And you're more right than you can fathom. Correct! ID'd above. This one is the challenge of the group. They are, but also being true to themselves. This group doesn't get any respect from the Crouch-follower-set, and I always took this cut as a slight FU to the doubters. Tune is correct. Description of the format is accurate, and a key to what this is and how it came about. This saxophonist is an acquired taste due to his approach. I assume someone will get this player, if only because nobody's taken the bait and guessed incorrectly. Ding! Ding! This is the recording that introduced me to Jimmy Jones. Recognizing JJ is what led to me becoming a regular in these parts. Not Duke (though he undoubtedly had it in his repertoire). Not Ricky or Scott. I assure you, this tenor player would LOVE the comparison to George. Definitely stays within himself, though (something George could NOT do). Great song, not the best version I've heard, but it is the best version I have recorded. A wicked ear-worm, though.

Not opposed to it, but I've never had any spoilers -- I just look at the first post. But I'm open to it moving forward (discussion has already started on this one). Yes, you do. Correct, sir! This is the gimme (although, JJ is only a gimme for the insiders). Correct! Indeed you do! True. Has the language, but it's not the one he uses to communicate. Must not have. Yep! I'd label this guy more original than that, but this track definitely goes more Trane than he usually does (but manages to still be THIS guy). DING! DING! DING! DING! Wow! BIG fan of this "singer". I'll be surprised if anyone pegs this one. Yeah, that's how I hear it, too. Almost like he's dancing to the beat of a different drummer, no? Wanted a different take on this classic. Most players ID'd -- rest of it (title, album) are still up for grabs. Correct!

Well, it's unorthodox, but I'm going to go ahead an post the thread for July. I will get the answer for the June test and post them as soon as possible. For now, http://thomkeith.net/index.php/blindfold-tests/

Now that just makes so much sense.

When we recruited him, I didn't realize he didn't have a login (I had chatted with him on AAJ and mixed that up with here thinking he was onboard). Getting new accounts is very controlled here because, as I understand it, Jim has concerns about spam (which I can appreciate). Dennis has requested a login. Thanks. Back atcha and welcome to the thread. Good to have new blood contributing on all levels.

FYI, Dennis doesn't have an account and I had to do some sleuthing to determine how to get him one. I think we're on the right track, but time will tell. We're working on it.

Finally getting to this. Egad. Track 01 — Instant recognition. Going to take me awhile. I definitely have this. Thinking Griot Galaxy. Can’t peg the tune, though. Yeah, this is GG (always loved this cover). Kins is the album, but again, can’t recall the song title. Track 02 — Love the feel of this. Not entirely loving the alto, but love what they’re setting up there. On the whole, this is a win. Yeah, now he’s digging in, I’m buying. This MUST be good because my wife is frowning! Track 03 — The abstract stuff like this doesn’t always hit the right nerve with me, but I’m all over this. Not 100% who this is, but that’s definitely Louis Moholo on drums. Night music. I mean, to my ear, this sounds like a lot of YOUR projects. It isn’t, though — I’m unlikely to miss on those. Soprano reminds me a bit of Thomas Chapin, but this sounds a shade before him to me. Track 04 — I struggle with this type of guitar sound, as a rule, but really like this. Can’t quite peg the feel I’m getting, but it’s similar to something in my collection, though I don’t have this. And, we all know I can’t resist anything in three. Love those tumbling drums. Has that feel of the best side of ECM. In fact, that sounds like Richie Beirach to me. Playing this sort of thing would make me very happy (are you listening, Tim Webb!?!). This is such a overall conversation. Much to like here. That bass tone is beautiful. Even the laptop speakers can’t hide that. Ah! That’s the feel. Reminds me of one of Heinz Sauer’s albums, Metal Blossoms. No wonder I like it. Track 05 — Wow. What’s not to love, here? I love the almost flamenco sound of the guitar. Even though it’s wondering and doesn’t seem to have a determined direction, I’m really enjoying the path. Again, great bass tone (why would ANYEONE prefer electric!?). Not a candidate for the car mix, but again… night music. Track 06 — Almost feels like a Charlie Kohlhase project to me. That alto seems a bit too mainstream, though. At times I feel like I know him, and at times, he seems completely unknown. It’s odd. I’m at the trombone, now. Not completely onboard, but I’m wanting to get there. Kinda feel like I want to recast this (like, I REALLY want Craig Harris right here!). Different alto? Chaos! Love it! I like that the drums stayed with that pattern as things got chaotic — kind of held it together for me. Weird. I’m half here, but I’m pissed off that I can’t get anybody nailed down. Track 07 — I know this. Ah, yes. Opener from this. Track 08 — Hearing a bunch of different songs, but this is none of them. Something almost Gato-ish about the tenor. I could do without that 80s electronic sound, but at the same time, it works in the mix. Just not sure how often I’d go back to this. Kind of losing me in the effects, but that’s probably more me than anything to do with the music. If there’s a power outage, though, this band is in trouble. Track 09 — All in. I want to guess Kenny Wheeler, but it’s not quite him. But it’s that quality that I like about this. Something about the progression in the piano feel like it’s coming from a religious/spiritual base, though the song itself doesn’t give me that. Man, you can pick some bass for me to love. One thing that’s really getting me about this BFT is the songs are all short-ish, and yet still feel complete. Definitely has that European influence (ECM-ish). There is something very honest about this. It skirts the J-word, but it’s not that. It’s something else, and I want more of it, in the right mood. Track 10 — I was in love prior to the saxophone. Horn feels a little too smooth-jazz for me. Love the feel they set up prior to that, though. It’s a great platform to build off of, but those trills aren’t doing it for me. This feels like a lost opportunity. What it sets up in the first two minutes never really gets realized, then it seems to run out of steam. I want something ballsier to happen. Maceo! Track 11 — I feel like I’m judging this too harshly due to my prediliction against electronica and/or “smooth” jazz. This feels a bit more real than the latter, but a bit to steeped in the former. I just can’t get my ears around it. Feels more like experimentation than a complete song. Track 12 — AHA!!!!! That’s my man Charles Brackeen! Whomever put these sessions together has a special place in my heart. Stone Blue from this. Not a moment I *don’t* love on this album. Frankly, I feel that way about all three of Charles’ Silkheart dates. Malachi is SUCH a *bitch* on this! In the words of Nathan Breedlove: Love! Love! Thanks, Dennis! You brought me Christmas with that last cut. Just noticing Dennis hasn't commented, I'll reach out.

I don't want to step on the May test, but Dennis asked me to start this thread for him, and I'm unlikely to have a chance tomorrow. Link is in the usual place, which is to say http://thomkeith.net/index.php/blindfold-tests/

Hey Bill, I PM'd you -- got new blood interested (as I believe both of these volunteers already do tests in other months).

Yep, that's the one. As for Ricky Ford -- Damn! I'm unfamiliar with this record. I forget who was talking about the Ricky sweet spot, but I love his work with Abdullah Ibrahim.

Felser, (tried to quote you, but that feature SUCKS on this board), you absolutely HAVE to get the Elvin stuff with Ari. Man!

Well, sax players were never really known for keeping the best company.

Track 01 - Sounds late 80s to me, but the drumming sounds like Dana Hall, but busier. What was that alto transition into the piano solo. Seems out of place. Something John Hicks-ish about the piano, but every time I was waiting for the tell-tale line, it wasn’t there. Maybe Joe Bonner? I don’t know the alto player (but you’ll tell me I do). Good opener, but not sure where I am on it long-term. Track 02 - I’m all in. First thought was Shepp, but you wouldn’t do that. Wait, that’s Ricky Ford. GOOD Ricky Ford. Good chance I have this, but it’s been awhile since I’ve delved into Ricky. Maybe one of the Jaki Byard dates? Though that sure sounds like Cyrille and not Ben Riley. I need this if I don't have it. Track 03 - Not sure I’m feeling this one, dude. Intonation counts for something. No phones, but that sure feels like electric bass to me, and I’m not digging it. This ones a miss for me. Track 04 - Redeemed. The Walkin’ Blues, but I can’t say who by. Okay, so that’s gotta be James Carter. This has to be one of Lester Bowie’s organ projects. Or are you playing me and this is one of James’ influences from Detroit. Either way, burns and makes me happy. The guy I’m thinking of, I can’t pin a name on him, but he’s a guy James worships. Don’t think it’s Lester, either. Maybe one of the guys who is in those bands, though (Zollar, Malachi Thompson, or somebody like that). Third listen. It's James. He's a little off, but it's James. Sounds like his guys (Gerard Gibbs on organ, Dr. Professor Leonard King on drums). Track 05 - Yes, please. Gotta be Fred and Diedre. Not something I have, though. All day long, this. How do I NOT have this? Track 06 - Ah! At first I was all ALBERT! Then I realized it’s the closer from this. Track 07 - Oh! It’s the title track from this, but there is something about that intro that always cries out Eric Satie to me. And what’s not to like about the personnel on this!?!?! Why is Jimmy Hopps not a household name? Track 08 - First instinct was Karin Krog, but I”m wrong. That’s Carmen McRae, no doubt about it. I don’t have this, and if I did, I wouldn’t keep it because of the drummer. That’s Joe Pass on guitar. Ah… now the choice is clear to me, that’s Ray Brown. Track 09 - Jitterbug Waltz a la glissando. Hmmm… I know this guy… the phrasing is there, but I’m not getting the tell-tale lines. When I hear Art Tatum, this is what I WANT to hear. Getting a Hutcherson vibe (no punt intented), but thinking maybe one of the guys that was on some of those Liberty sessions but is lesser known. Not sure I’d play it this way, but he means it, and that’s good enough for me. Track 10 - Timely. Closer from this. Perry is on my short list of tolerable clarinetists. Track 11 - Man, this is like two tunes. Drums/bass are doing something I like, but not against the horns. I want it to drive more, and be more in sync. Also is super familiar. Kill me and tell me it’s Braxton (I hope not, because I actually like it). Yeah, I”m really wanting the drums to match the rhythm of the horns here (a la Equal Time). I know I’ll kick myself on this reveal. Track 12 - Blackwell, for sure. Oh! Yeah. “I is a artist.” It’s the opener from this. Track 13 - Come Sunday, a la Cedar. One of the early albums in my collection. Twilight Waltz and Head and Shoulders were my favorite cuts on this. Did ANYONE walk like Leroy!? From this. Man… nobody is like Junior. Track 14 - No you don’t, son. EVERYBODY should own this. Closing out this in style.

Track 01 - Sounds later than where it fits. This reminds me of a conversation with an area saxophonist about playing with a big band where he dreaded playing In The Mood. Years later, he played with another band in another state, it the experience was the opposite — it was FUN to play In The Mood. He had the realization that the former band all hated that song as much as he did, and it showed. While this sounds like a modern interpretation of this music, it’s clear that there is joy in the act of the players. No guesses. Could be a Lincoln Center project, but feels more real than that. Track 02 - No idea what it is, but about a minute-and-a-half in I got a distinct animation vibe. I don’t mean that as a criticism, it was more of a wistful rememberance of the cartoons of my youth. Track 03 - I enjoyed this, but other than the arco, can’t really say why in particular. I know that I’m listening as I deal with some work BS, and it’s keeping me sane, so there is that. Track 04 - I like this. Flute over the top of the smokey background. This is nice. Track 05 - I like this one, too, but the harp I could do without. Nice brushwork. I want to like the alto more than I do. Has elements of a lot of guys, but can’t really match the sound. Elements of Rahsaan, Blythe, Carl Grubbs… I don’t believe it’s any of them. I like the overall tune, though. Track 06 - I wasn’t sure I was going to like the arrangement at first, as it’s very dense, but by the later part of the song, I found I really liked it. Has that David Murray density (maybe a Sam Rivers project?). Lead alto is strong, though I find the improvisation meanders a bit. Overall, still a very good listen. Track 07 - Not sure what’s going on with this one. Nothing ‘wrong’ with it, just doesn’t inspire me at all. I like the minor feel of the tune, but it feels like the soloists don’t really build on that. Notes more than music. The trombone solo is STRONG. Doesn’t quite bail out the wasted opportunity, but made me want to give it a second listen. The feel change doesn’t completely work, but does have me wondering if this is a Ginger Baker project. Track 08 - Feels like Fred Ho’s band to my ear. Funny, I don’t think I’ve ever owned a Fred Ho album, but I always like what I hear when I hear it. I should probably do something about that. Ugh. That soprano has the precise phrasing that drives me nuts about mondern, conservatory players. Warmed over Wayne Shorter, and not the best Wayne at that. Tenor solo is out of that school, but with a lot more fire. I think the track works, but the soprano stands as a missed opportunity. Track 09 - I’ll put this in the guilty pleasure category. Like a lot fo Gato’s stuff, it’s got all of the post-production stuff I instinctively rail against, but I can’t help but have a soft spot for this. Big-ish tenor sound (hard to tell with all the effects). Has the strength of Dewey Redman, but I don’t have any knowledge of Dewey doing anything this electronic. Has some of the quality of the soprano solo that rubbed me the wrong way, but this track works. There’s a VERY commercial Bob Berg record like that I really like. There’s that 70s, post-Coltrane line that every guy made a career of. But, again, this works for me. I’m thinking this is early enough that it was still more real. Ah yes, likes him some Coltrane (who don’t?). Track 10 - Stark contrast. No idea, just the straight-ahead ‘sort of a boo-gee woo-gee music’. Track 11 - Bass hook, vampy feel. You had me at hello. Why is my mind thinking Yusef? I think I have this, but damned if I’m going to peg it. Track 12 - Very McCoy feel. In fact, the melody borrows from Search For Peace. Very pleasant, great feel. Could actually be McCoy on piano. Thinking maybe Franklin Kiermeyer on drums. I’m going to withdraw my McCoy comment, the ideas are right, but at half speed. It’s not a bad thing, but McCoy seemed to have a period where everything was MANY notes, and the sound of this recording would match that period. Track 13 - Has that Jan Garbarek feel. Also a touch of Old and New Dreams. A bit more dense than either of those, though. Works, whatever it is. Meh… now that it’s into the improv section, it’s lost what I liked. Had that dirgy feel of the protest music coming out of South American conflict, but once the saxophone solo starts, the approach is a little too quiet storm over that feel they had created. Definitely a challenging test — don’t think I got one player, let alone an actuall ID. On the whole, a lot to like even though most is outside of my typical listening zone. Thanks for sharing. I was hearing Nance here, too. Jesus... mark the calendar -- I heard Brecker and didn't hate it. I'd better take my temperature.

Finally got around to this. Life was already sucking up too much free time, but now I have to do my thing online, which is MUCH more preparation. Gah! We all have problems, I'll quit my bitchin'. I think I enjoyed most of this more than my comments (upon re-reading) would lead you to believe. Excepting Track 7, that is. Track 01 — Man, feeling generous love for this off the bat. Contemplation, maybe? Digging the absolutely hell out of that bass. Reminds me of that Tim Webb guy. Nice! Contemplation it is. Wait, I know that tenor. Yeah, I’m definitely going to play this after I finish this BFT. Tenor is a touch of modern with a strong nod behind. Lovano, maybe? Has a bit of that Mobley thing that Joe has going on. Just prior to the Invitation quote, feels like it loses steam a bit. There we go — bebop lick gets it back on track. I’ll guess it is Joe, because it desperately wants to stay “inside” (not a bad thing, but do that if that’s the case). Pianist calms down nicely to start the solo. I’ll give them this, they’re not doing McCoy. Maybe Joe Caldorazzo? Drums feel a bit flabby to me… kind of that Schmitty Smith feel, but seems to constrained to be Marvin. Tain? No idea who the bass is, but I think I’m in love. Track 02 — Don’t like that electric bass, but like the Bitches Brew feel in the drums. Got a remixed Lennie White feel. I’m not in love with the tenor sound, but at least the spread quality is unique. Reminds me a bit of Radio Citizen, but is more alive (i.e. real). Just raw enough to win me over, I think. Almost like Ricky Ford with more time in the rudimentary shed. Does feel like this is multitracked (drummers don’t seem to be tuned into the soloist at all — just doing their thing). Track 03 — Sax player is stumbling over his toungue like Dudu tended to. As usual, I know the damned tune, but can’t come up with the name. I appreciate the bass, but that sloppy articulation has me cringing. And that’s speaking as the king of slop. Yes on the bass, all the way through. But overall, didn’t hold my attention. Track 04 — I’m a sucker for 12/8. Also for vibes. I want to like this, but wish I could hear the lyrics better. I mean, I do like it, but want for cleaner sound. It gets dirty, but has an undercurrent of politeness. Wouldn’t be my top choice of approach, but I like that it’s unique in that way. I think this would be really fun to see live, because there are times where the seem to be backing off a bit because of the studio (to my ear). I like it, though. I like that while it has numerous influences, it’s not beholden to any of them. Gets gratuitous after 11 minutes, but not enough to ruin for me. Track 05 — No fair. I’m a sucker for Afro-Cuban anything. I can’t say anything worthwhile, but if something like this comes on, I’m stopping on that channel. Wife and I used to go out on Saturday’s once or twice a month and becoming home very late, right when WBUR in Boston would have their Latin show on. It was usually the best part of those nights (hell, I had to drive!). Track 06 — Sounds soundtrackie. I struggle to get my ears around this stuff (but keep trying — my inner Bourdain dictates that I do so). If this is pop music of the region, I love it. But wouldn’t choose it over actual Jazz. I’ve been too restricted by the western scale to fully appreciate this stuff, but recognize it as MY issue, not the music’s. Track 07 — I like a blowout as much as the next guy, but I”m not hearing interaction here. Saxophonist is just over-wailing and not listening to what the others are doing around him. Very close to swiping left on this one. Yeah, buh-bye. Like Yoko playing saxophone. Track 08 — I like the guitar, but really wish the band were more supportive. Reminds me of that Albert Collins record with Cray and Johnny Copeland — the band just has that 80s compressed honky-tonk sound. Throw the nice fat bass from track one behind this, maybe a nice Michael Carvin backbeat, and this would KILL. Is that two or three guitarists? Track 09 — Believe that would be Sonny Blount. Damned if I can name the track. Supersonic Jazz the album? Swings like hell, as does nearly all Sun Ra of the period. Appropriate nod to Ellington’s voicings, as always. If I’m right on the album, that’d be James Scales on alto. That bari sounds more like Davis than Patrick to me in the first part of the tune. Track 10 — I dig it once the band comes in, but didn’t like that electronic keyboard in the entrance. Still can’t give you the name. This isn’t the Arkestra itself, I don’t think. That brass in the beginning reminds me of one of the guys in the Murray Octet. Not Gilmore, but someone who has certainly given their ears to his work (as all should). I’ll honor this as a solid cover. Track 11 — Ginger Spice!!!! Not the version I’m familiar with, but still a great tune! Man, that James Carter solo on the Coward Of The County version. WOW! This doesn’t feel like Ginger on drums. Not feeling this gel between the instruments. Seems almost like a “play-along”. And there’s that damned electric bass. I know what it is — sounds like the drummers are listening to a click track. There is almost no way for this rhythm to NOT change tempo over this course of time. Track 12 — This a little Fela tribute? Maybe Ibrahim Electric? Always wanted to put together a band focused on music from this area/genre. About 8 years ago, a local musican did exactly that, and I knew nothing about it until I saw them (with another bari player!). Well, damn, that certainly has Fela’s feel on the tenor, but the sound of the recording seems too modern. Seems a bit to constrained to be Fela’s actual band. Bitch of a cover, though. Digging the hell out of that trumpet. Sounds like Bowie at times. Wait a minute, that’s GOT to be Fela. Okay, vocals… yes. Good Christ… I need fresh air. Had to go look it up. No Agreement from this. Track 13 — Has that ABB feel. I’m going to guess Government Mule in the first 30 seconds. Unless it’’s one of those late 70s ABB recordings, I’m going to stick with that guess. Track 14 — Oh look at you sneaking in there. Track 15 — That guitar sure sounds like Duane Allman. I love this kind of stuff (in the right mood) but never delved into learning about it like I did the Jazz stuff. This feel is one of the things I most enjoyed about seeing The Blue Man Group. It was all this acid rock instrumental stuff underneath the humor and PVC percussion. Seems like you moved a bit outside of your typical BFT boundaries for this one. I'm kind of glad you did. Feels like I'll be going back to this one, again, when time allows. After scanning comments, I see I botched my Sun Ra albums, once again, got Bowie without realizing it (not hard to do), and am consistent -- I just neither like nor get Braxton.

Finally squeezed in a listen. A LOT I don't know in this one. I have the feeling some of the stuff that didn't resonate will get a second listen, though. Track 01 — Diggin’ the hell out of this! Has that Morphine vibe in the beginning, then adds in a Jazztet feel over the top. F*** yeah! Must have! Love that bone-over-bass. Track 02 — Ah! I know this! I believe this was in a BFT awhile back. Track B1 from this. I remember when I first heard this, because it was the only time I had heard this player on clarinet (as opposed to bass clari). Track 03 — Any guesses I would make on this era would be purely that, so I won’t. Cooks, but doesn’t maintain my interest (not about the quality, more about my predjudice against music of the era). Track 04 — I’m not right, but I keep hearing Sleeping Bee on the melody. I’ll say it’s a Harold Arlen composiition and that’s what’s throwing me (gotta save face somehow). No idea the player. Track 05 — Odd like the first one, but doesn’t resonate quite as much for me. I like it, but a tier lower. Someone likes Lester Bowie (not a bad thing). Wait… I know that guitarist. In the early days of mp3s, he put a bunch of his stuff online that he’d recorded for people to DL (complete with jewel case covers). It’s Charlie Hunter, I’m sure of it. No idea who the horn players are, but this one works, even if on a lower level than track 01. Track 06 — Man. Another odd one, and I love it. Has that vibe of a Dirty Harry movie, but with way more taste. Comping has that Herbie flavor, but is not so insistent as HH. Actually, more of an Andrew Hill vibe. Ah! Yes! Track 3 from this. I think this is one of the better recordings of the saxophonist. Track 07 — Despite my anti-clarinet stance, I really like this. I haven’t a clue who it is. Track 08 — That is a LOT of brass. Early on, it reminded me of Charles Tolliver’s Brass Company, but definitely not that. A little clean and orchestrated for my tastes, but I do like it. I mean, I’m a sucker for three, and a little flowery doesn’t scare me off. I do really want a surprise bari solo to come in an get pissed off, though (think John Surman). Ooo… that sounds like hope around 3:05! Gah! A polite alto was NOT what I was looking for. Maybe Mike DeRubbo? Don’t like the direction the drums just took. They had set a nice feel, but now we’re going all Steely Dan with a Varitone. Track 09 — This one just isn’t resonating. I was waiting for it to go somewhere, but it’s just going to a place that isn’t making my ears happy. Harold Mabern could hit those chords all day long and make me happy. This, to me, sounds like three guys trying to play like that, but not listening to one another. Track 10 — Like this feel a LOT. Really got that Coltrane feel. In fact, that bass line sounds like they copped it from The Drum Thing. Wait… they didn’t cop it — there’s the melody. Weird. NEVER heard this covered! Richie Beirach? This is weird. I’m in… but I’m not sure if I’m staying. Track 11 — Weird, but it works. Has the feel of Bass Drum Bone, but the bass clari/clari mix is intriguing. Not entirely sold, but very intrigued. Track 12 — I liked some of this sort of thing when I was younger (Michael Hedges), and still do, to a point, but don’t think I’d ever sit down and spin this. Actually don’t care for that piano at all. I’m not sure where this is going, and I’m not sure it knows, either (which is actually working for it). I like the trumpet, but again, don’t care for what happened rhythmically when the piano came in. Could this be Kenny Wheeler? Don’t think so, but something about that sweeping arc into the upper register makes me think it could be. Overall, I’m not sure how I feel about it. Track 13 — Not sure where I am on this. First thought is that I don’t really like the alto. Almost sounds like Arthur Blythe at some points, but doesn’t seem to have his fire. Takes a turn for the weird when the bari comes in. Not sure where I’m at on this. It’s a bit chaotic, but seems to work… almost. Nods to Monk, but I’m guessing an “original” tribute. Maybe one of Fred Ho’s projects? Nay. Doesn’t sound like Fred to me. Could be Alex Harding, but I don’t think so. Nope. Not enough in-the-blues for Alex. I’d bet this player likes Alex a whole lot, though. Thanks for a spin through unfamiliar territory with a few recognizable sign posts! Later (REALLY wish they wouldn't combine the responses) Damnit! After reading, i was going to guess Giuffre on track 7, but convinced myself it was because of some false relationship in my mind. I will never learn.

By the math in his original comments, the alto player would be 100 years old.

Track 01 - Watermelon Man, but by whom? Really hate that electric bass (sorry, Tim). Not quite buying the trumpet player. Well, they’re consitent — not buying the tenor player, either. My ears want George Adams, but instead, they’re getting the practice room. Track 02 - I love the song, and I’m pretty sure you can’t do a bad version of it. This one is not, however, one of my favorites. Across the board, just feels to busy. Is that a C-Melody saxophone? Something recognizeable about the way he’s kind of cutting off the notes. Incredible facility on the saxophone, but again, I almost want a little less. Could be Red Holloway, but I don’t think so. Track 03 - There we go. Paul Gonsalves. THAT’s how you play that shit. BAD MF! But playing Sister Sadie? Hmmm… second tenor? I recognzize the hell out of him, but can’t quite cull the name. Okay, this is some mixed superband, isn’t it. That first trumpet sure sounds like Clark Terry to my ear, but the second guy is unfamiliar. Could be Louis Belson on drums. Weird. Track 04 - Things SURELY Ain’t What They Used To Be. Got that Concord Jazz sound. Thinking it could be Norris Turney on alto. Drummer needs to get high. Or maybe it’s the bass player… something between them isn’t clicking. Could be George Mraz. Don’t know for sure who any of them are. Track 05 - No doubt I should know the tune, but I do not. I must be in a mood, because this is another rhythm section I’m just not diggin’. Feel reminds me (and I know this is chronologically backward) of the rhythm section on David Lee Roth’s cover of Just A Gigolo/I Ain’t Got Nobody. I like the trumpet, but not sure who it is. If that’s not Gator, somebody owes him royalties and an apology. Yeah, just not digging this pianist a shred. No clue on the ‘bone. Ah, but I do detect a needle. Track 06 - Don’t know what that fat MF is, but I love it. Not sure of the tenor — somebody I’m less familiar with. Okay, so that was a tuba, then. Narrows it down, a bit, but it’s not one of the two guys I can name. Track 07 - This is the best rhythm section, yet. This just works on all levels. Elements of Clifford Jordan (not him) in the first tenor. Second guy is pinging hard, but I’m not able to put a face or name to the ping. They predate the math guys, and it shows. Nothing particularly new happening here, but it’s HAPPENING. Aaaaah… space. Thank you, piano man. The bass on this track is absolutely the glue. Realized I wasn’t all that conscious of the bass, but it was right there enveloping me. This one is a keeper, for sure. Piano player might be a shade younger than the tenors. That first tenor could be Teddy Edwards. Second guy has a touch of J-Griff in his approach (NOT him). Clearly the younger of the two players (strangled altissimo). No clue on the drummer. This is the class fo the test, thus far. Track 08 - 80s recording? Pablo or Concord? That bass, those drums… man… it’s ugly. The music works, but the sound is attrocious. I am not familiar with the trombonist. I usually don’t double up, but sure sounds like Red Holloway to me. Not sure on the pianist. Oscar Peterson seems too obvious a guess, but that’s what I’m hearing. Man… that bass sound is just awful. Maybe Alan Dawson on drums. Track 09 - Little Sunflower. There goes my first guess. I was thinking it was going to be Tete Motolieu with George Coleman. It is not that. Another song difficult to do badly. Ooo… those chords… could this be Harold Mabern? The right hand seems a bit flowery for Harold. Track 10 - Know the song, can’t give you the title. Goddamnit. That tenor has me leaning to a well I’ve been to twice, and I just don’t think you’d do that to us (first guy). Second guy has a Zoot quality to the tone, but he’s to slick. To big tenors duking it out, can’t be a bad thing. I know that second guy, but I’m not going to be able to deliver on the name. Like Getz and Zoot had a mildly angry child. Aaah… more space — thank you, piano man. Maybe Hank Jones? Guy in the left channel isn’t Jasper Thilo? Shit. Just had the title, but now it’s gone. Track 11 - Sketchy live recording, but a great feel. Tin Tin Deo. Could be Sonny Criss on alto. Yes, I’m doulbing down on the Criss guess. I was thinking maybe an LA date with Horace Tapscott, but I’m leaning Hampton Hawes on piano. Other guys could be anybody — getting no read. Couldn’t take it and did a little sleuthing. It’s this. Track 12 - Well You Needn’t. This approach/tempo isn’t really scoring for me. It’s NOT Art Pepper, but I sure want it to be. Not sure who the alto player is, but I’m going to guess Mel Lewis on drums because of that cymbal choice at the end of the alto solo. Weird bass guess — Jamil Nasir. Track 13 - I don’t believe this guy’s math. No idea who this is. It works, though. Track 14 - Easy Living. Breathy as hell. Someone I’m less familiar with, but have heard. Playing the hell out of this. Whomever it is, he’s influenced the hell out of Ricky Ford. Almost sounds like Lockjaw with the triplets removed. Definitely a later recording of an older guy (why it works). I’ll kick myself when this gets revealed for sure. Man, a good listen. I think it got better as it went on. That last track is absolutely killin'!

Track 1 — The Visitors! Earl and Carl Grubbs. Title track from this. Ken Eisen introduced me to this when Carl released kind of a return album about 20 years back. I can’t say I love the brothers Grubb, but I certainly do take to the feel of this music. They made the most of their family(ish) connections. To my ear, this is where Kamasi is coming from. Track 2 - Bert Myrick. This was in a BFT awhile back and blew my socks off. Found the album digitally and snagged it. The whole album doesn’t have what this track does, but it’s good. This track is transcendant! Track 2, Scorpio’s Child, from this. Track 3 - I’ll be wrong, but that sure sounds like a Frank Zappa band. Anton Lavay? A bit on the poppy side for my tastes, but it grooves like a sonovabitch. Track 4 - Vocalist doesn’t sell me, but that ‘bone sure does. I like the song (and it’s super familiar for some reason). Seems like a non-technique guy like Dick Griffin, but it’s not him. Love the drumming on this. In fact, love everything about the rhythm section. Track 5 - Too much reverb to be Khan Jamal, which was my first thought. Not Bryan Carrott. I’m stumped. It’s got a good groove, in spite of the ECM sound. Track 6 - Some powerful oboe. I know the oboe players tend not to like the “Jazz” oboe players. I like oboe doublers for the same reason I like flute doublers — they tend to get a bigger sound out of the instrument than those who focus on that instrument. I’m not blown away by the oboe work, but I do like the sound and the blend of the instruments/voices. Sounds like a 70s soul jazz tenor player based on the lines (somebody like Harold Alexender, but more polish). And I’m a sucker for Rhodes. Track 7 - Airegin, a la…??? Sounds like it could be Eric Alexander, but a bit beefier tone (a little less like George Coleman). There’s the Coleman-isms. I’ll double down and say Eric. This is flat burnin’. Could be Farnsworth, though it sounds less like Billy Higgins than Joe usually does. But that level of facilty, burn and polish on tenor has to be Alexander. I’ll say it’s from this (a little sleuthing once I committed to Eric). For my money, Eric Alexander has it ALL over Potter/Turner/Whomever. Track 8 - Song is reminiscent of Emily, but clearly not that. I like the arrangement — a very Gil Evans vibe. I know that tenor, but I’m sucking wind. It’s a nice track. I want to find something to push me away from it because I can’t peg the tenor, but this is excellent. Track 9 - Somebody is making a very strong tribute to Art Blakey. I have a sneaking suspicion… nay… I retract that. Art Blakey is making a very strong tribute to Art Blakey, as well he should. Clearly a later, live Messengers date. Sure sounds like Woody’s trumpet to me. Trying to place the piano. Some voicings like Harold Mabern, but not him. Not John Hicks. Onaje Alan Gumbs? That’s GOTTA be Carter Jefferson. Just enough Wayne Shorter, but something personal and crying in that tone (unlike the later clones). Carter always sounded like he was just on the Harold Vick side of Wayne Shorter, and I like that. BEASTLY drum solo! Welp, egg all OVER my face for missing Khan Jamal. I need to listen on better speakers (keep saying it, but not doing it.).