tkeith

Not jgriff. Again, the neighborhood is certainly correct.

Not Philly Joe, but began in that era. Time period is correct, but the musicians are not. You're in the right neighborhood, but a few streets off. Not Roswell, but heavy hitters all. Oddly, I would submit the trumpeter is the best musician of the bunch, though my favorite of the bunch is the bassist. Not Joe. Later, certainly more out. Not fuller, but I think the trombonist would appreciate the comparison. A little later than you are thinking. Nope. A little later. I think of this band as more centered in NYC, but I get where you'd hear that, as well. Similar era to the Pharoah stuff, but not him. I think this one surprises a lot of people. Thanks for the comments! ======================================================================================== Not Dex, recording is later than you're hearing it. I like where your ears took you, though. mjzee's comments on this track, combined with yours, should put people on the right street.

I'll be surprised if you have #1. The alleys in your neighborhood make me want to visit. #8 predates Watson, but given the personnel, I'd think there has to be some sort of Messenger tie-in somewhere along the line. If not, there is most certainly both a strong Blue Note connection and connections to just about every other major 'school' of the music.

Diggin' track 01 myself right now!

BFT160 for July is available for download and listening online. It's got a range from easy IDs to impossible (mostly the former, IMHO). I won't be around most of tomorrow so I wanted to get this up and ready to go. Have at it at will. And, I just want to tell you good luck. We're all counting on you. http://thomkeith.net/index.php/blindfold-tests/

Indeed! Thank you!

Who's the guy I'm thinking of, though!? It's making me cuckoo!

Track 01 - I'm just wild about Harry. I forget what movie this was in, but I'm always taken to that when I hear it. Good to hear a bouncy bari from that period. I have this. Oh! It's Sidney Bechet, for sure. I've got it on one of those compilations. No mistaking that vibrato. At 3 minutes, seems like it must be later. Track 02 - Not sure who this is. Reminds me somewhat of Jimmy Vass, but a bit busier. I like this a lot; seems to have a strong nod to Monk without being Monk. Track 03 - Ooooo... me likey. The Mooch, I believe. Tasty, more modern take on an old song. I suck at IDing flutists. Track 04 - Happy. I like this. Double bass as leads... I like this. I can think of a few guys who would try this, and this doesn't sound like any of them, to me. Looking forward to this reveal. If it's a whole album of this, I have to have it. Track 05 - In a Sentimental Mood by a seemingly 70s vocalist. Very few songs exist that are so bullet proof that it's ridiculously difficult to find a bad version. This is one of them. I've literally never heard this song when it didn't "work". All hail Duke! There's something in this woman's voice, the dynamics, that is reminiscent of Dionne Warwick, but not her. Track 06 - BIG sound. My first thought was Harold Vick, but this guy is beefier, a little more to the point. Different arrangement. Different enough that I can almost forgive the electric bass. Is that a clue? Open chords are reminiscent of Harold Mabern, but I don't think it's him. What's going on with that trumpet? Is that EVI? I like the arrangement, but the hyper compressed drums are off-putting. I'm guessing early 80s. Tenor is George Adams. Is this something with Gil Evans? Hehe... I love George... friggin' nut. Soprano sounds familiar, but I can't put a finger on him. Track 07 - Seems like I should know the song, but I don't. I think I like it, but can't make up my mind. It's like if Scofield did a record with Jimmy Buffett. It's a hot day... beverage in hand... ocean... yeah, I could definitely dig this... but I'm at work. Feh. Track 08 - I like this, even though it's a little post-modern Jazz. Sounds like somebody heavily influenced by Dave Holland. Could be Dave Douglas. I really like the bassist on this, almost wondering if it could be DH, but something about the piano is too flowery for one of his projects. Definitely a Potter influence on the alto player. At times he's reminiscent of Gary Bartz (good), but other times gets to mathematical for my tastes. Overall, this works. I'm going to guess a European group. Reminds me of Martina Almgren's group. Not David. Closer to Avishai Cohen, but not flashy enough. This is a niche within the Jazz array that rarely matches my ears, but some of it works very well. This falls into that category. The longer it's gone on, the more it's growing on me. Has a very optimistic overtone, almost like them music. I used to use a Bob Berg cut to close out my radio show in college that had a similar feel (American Gothic from Back Roads). Track 09 - Ah! A Mighty Fine track from this. Arthur was the Arthuriest. A part of my always kind of turns away when I see Frisell's name, but then when I hear it, I always seem to end up with a smile. I'll blame my Dad's influence. Ron Carter managed to do this feel about as well as anybody (Uptown Conversation, anybody?). **Track 10 - Whoooo! Aggressive, funky-@$$ tenor! Almost a Turrentine level of Boss... sounds a lot like Willis Jackson, but I can't see him doing anything this Messengerish in feel. Track 11 - This one is weird. I think I like where they are headed, but that bass (direct bass?) is frustrating hell out of me. Sounds like the tenor is trying to do his Buddy Tate, but it falls just short. It's definitely a real guy, though. Seems like maybe somebody not really noted for this type of playing and he's *really* trying to put it out there. Because it's a blindfold test and a bunch of names are floating into my mind for the pianist, I'll risk it and ask: Gene Harris? Track 12 - A thoughtful take on Stardust. One of the advantages of age is I've gained an appreciation for the trombone. Seems obvious to say J.J., but it has to be. Hmmm... nice, thoughtful, warm soprano. Warm soprano, needle drop, gotta be Lucky. Muted trumpet is very enjoyable, I'm thinking I've got this -- I'll say Clark Terry. That sure sounds like Hawk. Just for fun, I'll say Lionel Hampton ;). I have it as this. Man... great just doesn't age. Track 13 - Sounds Bill Evans-ish to me, but I have no idea what I'm listening to. Grooving along with it, though. Track 14 - Sounds like a lullaby. Which and by whom, no idea. Track 15 - What's going on here? Old recording played over by a highly accomplished modern player out of the Cannonball school. Not Cannonball, but perhaps... well, piss... can't think of his name. White guy who sounds EXACTLY like Cannonball (can actually fool me at times). Frick. [Later] Still can't think of his damned name. Track 16 - No clue.

Very interesting reveal. Got more of this than I realized. Kudos for including your own stuff, even if I kicked you. Takes a pair to do that and I respect that. I can't remember the last test that had so much in it that I really dug, though. I have both the Trio Transition and the Fathead. I should have gotten Fathead... wish I had a dollar for every time I miss on him.

Gave track 13 another listen. Positive I'm right about David Murray, but realized I didn't put the last name.

Welp, no full IDs, but definitely some recognizable "faces". Track 15 is a FIND!!!!! REALLY looking forward to the reveal on this one! 1 - Neil Hefti, baby! Love this song, always have. Always wanted to cover it, but thus far have had no takers. Player in the right channel needs to articulate that head. Playing the song but not playing THE song. Solid facility on that horn, though. Right at 2:03 he does something that clues me in to his era. Late 70s/Early 80s. Has that Billy Pierce sound in there, but not the overly polished bit of the guys that came after that period. There's some shoutin' going on here (through a fabric of Coltrane). Drummer is going for that Blakey shuffle. The guy who does this best, IMHO, is Ralph Peterson. This could be Ralph, but my sense is that this is a little older than his period. Second guy is working hard, but just falling short of the first. Second guy could be Ralph Bowen, but doesn't seem to have his facility. I like this because, even though the execution is a tick below where the ideas want to go, they're fighting for it, and I appreciate the journey. SUCH a great tune. Hmmm... that WAS odd. 2 - I'm in, immediately. Sounds like Sonny Simmons off the bat. Ah... no, that's Oliver Lake. Not sure *what* it is, but it's definitely him. Sounds like McBee to me on bass. Can't place the pianist and any guess would be by association. Hmmm... can I switch to Reggie Workman on bass? I like this A LOT. 3 - Hmmm... this one is not any of the things the last two were. Sounds like it was done on a Mac, using the tone generator in Garage Band. Just not feeling this one. 4 - This makes me want to growl -- in a very good way. GROOVIN'! LOVE this! Only thing I can guess is maybe somebody like Fred Ho or Barney McAll. This seems more edgy than either of them. 5 - Hmmm. Total guess: Plas on alto? 6 - That left hand sounds like Tommy Flanagan to me. Should know the song, but it's hard to hear because I have bad theater signing in the background VERY LOUD ("ONE! SINGULAR SENSATION!"). #hazardsOfListeningAtWork 7 - Somebody out of the B.B. King school (but a unique voice). The formula is the one B.B. made famous, though. Rocks out and creates a genuine appreciation, but can't say who it might be. Voice is similar to 'Spoon, but not as full. I like this guy's influences, for sure. I think it's a survivor, but I'm not versed enough in the genre to pick him out. 8 - Sounds like Archie Shepp's singing. Can't imagine who the guitar would be if that were the case. Guitar is not this guy's main axe. Could it be Archie on guitar? Voice isn't quite gruff enough for me to commit to Archie; I think I'm barking up the wrong tree. 9 - Can't decide where I am on this one, but it's interesting. No guess. 10 - I think I have this. Maybe not. I can't seem to track it down in my collection. Some parts Very, Very Circus, but not quite to that point. Reminds me a lot of some David Harris stuff. Touch of Dave Holland, as well. Ah! It's reminding me of Chris Klaxton, which it definitely isn't. Intrigued. 11 - Jitterbug Waltz. Sounds like Randy Weston's approach to me (earlier). Wait, no. Too busy. Somebody out of that school, though. Muhal? I don't know, but I like this take on the tune, a lot. 12 - This is a weird one. The bari player has that Harry Carney thing down, but clearly it's neither him nor Duke. It's something newer, but has a pleasant, somewhat plaintive feel. Both tenors are patient and musical. I recognize the song, but truly suck at song names. My guess is this is an Ellington composition, explaining what I'm hearing in that regard. (Can you tell I'm splitting time between this and report cards?) Is this one of the tunes from Anatomy of a Murder? It's extremely well done. 13 - Another of the many Monk melodies I can play but not name. Is this Let's Call This? Pianist reminds me of Cedar Walton at times, but I don't think it's him. Though, it could be. 14 - Don't know what this is. Interesting as hell. Not Matt Shipp, perhaps before that. Busy, but interesting. 15 - Wheelhouse. Has that Muse sound. I'm in . Ooooo! Billy Harper, for sure! With David? What the HELL!?!??! I had no idea this existed! WOW! Man, this IS a treat!

Call it what you will, but you have GREAT ears, my man.

Finally got around to this. Some goodies in here. And some bizarre stuff! Track 01 - Very nice. No idea what it is. Track 02 - Very mid-70s sound. Muse? Could be Harold Mabern on piano, but more likely an off-shoot. A lot of facility in that horn player; not easy to play that many notes on the unemployment stick and still have it sound like music instead of a bunch of mush. Track 03 - Manteca... (why would you take liberties with that groove? Are you going to make it *more* syncopated?) That sure sounds like Cuber to me. Track 04 - Arthur! From this! Track 05 - Variation on Rhythm-a-ning. Bitchin' trumpet work. Very clean sound, almost like Clark Terry, but most definitely NOT him. I can't identify anybody here, but this is cookin'. Track 06 - Tenor is just a tick off, and that makes it better, because he's working. I like this. Track 07 - The attack is Jaws, but no triplets. That leads me to think it's Gator. Whomever it is, he is one bad MF!!! LOVE this! No clue on the vocalist, but I like him. Track 08 - George Adams on soprano -- unmistakable! Clearly, he's a sideman here, but no idea who it is (song is obvious, recording is not). Hmmm... a little sleuthing and it *could* be Johnny Copeland. I won't claim ID on this one as the only familiarity I have with Johnny is the record with Albert Collins and Robert Cray. But, oh yeah, when the guitar comes in, that's him. Is George on all of this? Track 09 - Huh! I doubted myself on what my ears were telling me. I've got this. The Threadgill Sextett! I had the good fortune to see this band with the line-up of Reggie Nicholson, Thurman Barker, Fred Hopkins, Diedre Murray, Ray Anderson, Rasul Siddik, and, of course, Henry. I believe this is from Just The Facts and Pass The Bucket. Definitely Craig Harris on 'bone, and sounds more like Olu Dara than Siddik. STELLAR! Track 10 - Has the sound of one of those Tapscott sessions, but that piano is definitely not HT. I have to replay this one -- having to argue the indefensible while I listen... I hope I don't have an aneurysm before I finish the test. Hmmm... that piano just flat doesn't swing... I feel like that's a clue. The bone... I've listened twice, and I ended up half tuning out both times... I like it, but the fact that my mind wondered tells me it's not Craig Harris. I'm really feeling this as a European band, but the sound is definitely Soul Note. Definitely get the impression that these are not "inside" guys. Track 11 - Sound was jarring at first, then I was thinking Rahsaan, but that tenor in the arrangement sure has me thinking Gilmore. And that could certainly be Marshall Allen on alto. Is this an earlier (or early-middle) Sonny Blount date? Oh yeah, that's John Gilmore -- SO unique. Sad fact of things is that I built my Sun Ra collection in the digital era, so I positively suck at identifying the individual albums. Track 12 - That has GOT to be Sun Ra. I know that quote was Fats Waller, but I'm sure that's sampled. Track 13 - Voices are somewhat familiar, but I can't say I know what it is. I'm not proud of this, but I'm laughing. Oh! I know! The guy giving the instructions sounds like Bobby Valentine! That makes it even funnier! AFTER READING THE THREAD: New Rule: Jim Sangry can't comment until page 2.

Wait, did you flip flop 10 & 11 in the reveal? Wow! Love me some Cleanhead, but somehow (went back and re-listened to be certain), this one just misses for me. Not familiar with Julian Dash... recorded around the time of my birth... thank you! I'm less familiar with Trouble In Mind than with Goin' Home, but it's still a great period for Shepp. Really happy to hear this Ben record. He's absolutely vicious, even at this late date! A baaaaaaaaad man. Damn! Did better on this than I thought, but it just missed the mark for me. Man! Kumuca AND Buddy! Wow! King Curtis. A guy I need to know more about. Sister Sadie... should have had that. The recording, however, misses. Gene!!!!! Heard Dusko's name before, but this is really nice. Need to brush up. Wow... need to get this Bertha Hope record. Nice. Not familiar with anybody on the last two.

Went back and read through, now. Just gotta say, man, Jim Sangry has some mother****in' EARS!!!!

Welp, once again, Dan shows me a bunch of stuff I've never heard. Track 1 - Recording is clipping something fierce on my laptop speakers (like, every drum kick). Something about this alto player chafes me. S/he does something a lot of the modern players due, which, to my ear, is trying to do too much with a note. There's so much expressonatin' going on that they lose the beauty of a simple held note. I know I seem to be in the minority on this, but there is some... not open, but it's hard to describe otherwise, quality to the tone that is just killing this for me. Player seems so focused on achieving that affect that his/her time seems off to me. Drum breaks are clipping almost non-stop. Something a bit Louis Bellson about the drums in terms of attack, but the time and feel are all wrong for Belson. Alto almost sounds to me like a blues player playing jazz. Nothing "wrong" here, just isn't clicking for me. Maybe late Louis Jordan? Track 2 - At first, I thought it might be Lockjaw, but the tone is too clean. It's not somebody I could identify with confidence, but someone out of that Prysock section of town would be my guess. I like the general feel of this one and, as opposed to the first track, this tenor player is entirely locked in. Track 3 - ARCHIE!!!! One of the later Parlan duets (meaning after Goin' Home). Based on Archie's sound/playing, I'd guess '80/'81. Still fiery and brutal, but not quite that cutting edge he had in the late '70s. Track 4 - That's Ben. I know the song, but I suck so bad I can't get the title. Something from Sir Duke, if I'm not mistaken. Is that Arthur Blythe?! Sounds very much like the alto is dubbed in after the fact. Ben is vicious (LOVIN' it!). Okay, not Arthur. Man, THAT would have been a trip! This could actually be the same alto player from track 1, on a better day. Still, to my ear lends credence to the idea that this is not a "jazz" guy, but a guy playing Jazz. Track 5 - Alto player is working awfully hard, but I'm not really feeling it. Seems too grunty to be Norris Turney, but that's the first place my mind went. I want this to work better than it does. Concord Jazz recording? Yeah, so that tenor player doesn't work for me at all. Trips over his tongue... like Quinichette with a head cold... not feeling this guy at all. Even when he gets going, it's like he's totally fighting the horn. Can't tell if he's really old, really sick, or really bad, but not digging him at all. Seems like it wants to be JATP, but more like JATP if the regular guys didn't show. That's what it is -- seems like a regional/local date. They mean it, but they're not quite cutting it. I feel bad kicking it this hard, but it just doesn't resonate. Track 6 - Broadway. Dex will always own this tune for me. First guy has that KC sound to me. Almost like Buddy Tate, but doesn't seem to have the ass of Buddy's playing. I like this just fine, though. Drummer is familiar, but seems to be doing too much hear. Second tenor could be Budd Johnson. Both these guys are for real. Guitar player does not belong on that stage. Track 7 - I'm guessing this is the Gene Harris track. Willow Weeping, correctly. When he first goes into the solo, I wondered for a second if it was David Murray. Kind of like the horn can't handle his aggression. Clearly not David, but I like this a lot. Seems like it's a guy just off my radar, but I've definitely heard him before. Track 8 - Gah! Horace Silver tune... I can hear Dee Dee singing it, but I can't hear the lyric. Damnit! This is another track where the drum kicks are all clipping. Seems like most of these have been needle drops, but maybe were transferred a bit hot. Kind of didn't hold my interest. Nothing wrong with it, I'm just apathetic towards it. Track 9 - Billy Boy! Has a Blakey feel to it, though the block chords are certainly an homage to Red. At first I was hoping this was an alternate take I was not familiar with, but it's not that. Something in that left hand *almost* has me thinking Jimmy Jones, but it's not quite right. And, it's not Blakey. This one's going to bug me. Maybe the second best track on this BFT, so far. Track 10 - Now this is a nice way to switch things up. That very late-70s feel to it. Open chords and a 12/8 feel, I'm a sucker for that combo. Like the 'bone a lot. No guesses, but this is a keeper. Track 11 - Hmmm... I was going to say Terry Clarke on drums, but there's Junior Cook on tenor, so I'll say Louis Hayes on drums. I always love me some Junior. This one is striking me as a nice, middle-of-the-road track. It's probably not the best cut on the album, but it's certainly listenable. There's one Louis record I have buried somewhere in my collection from around 1977. This could certainly be that. Track 12 - This one is clipping on the drum hits, too. Moten Swing. Not sure who by. Track 13 - Sounds like a mix between a Horace Silver tune and Nat Adderley's Work Song. That sure sounds like Gator. This one sits weird with me because what I liked, I REALLY liked. What I didn't, well... I didn't. Weird to be so divergent on one test. What is weirder is that you seemed to have a pretty tight focus on your theme. Perhaps I should try some pain meds (cold turkey 5 days ago) and give it another listen... or not. Thanks, Dan! Man, REALLY sorry I missed the pinch hitter portion of the thread. How DARE you guys leave THIS guy out!?!?!?! Little known piece of useless information: This card marks one of the rare times where Topps used the same photo for two consecutive years (1977 and this one from 1978).

Sorry guys. Been only semi-online (in terms of my routine). It was a clerical glitch that shut my domain down. Should be up and running now. (And now, I will receive my slew of backlogged e-mails). Haven't listened, yet, so I haven't been checking this thread. We should be back up and running. Thanks for the heads up, Bill. Oh, and Dan, I'm recovering with minor setbacks (swelling, fair amount of pain). Getting old royally sucks.

Thanks, Bill - I was just on my way in here to do this.

I knew the record, but in my mind, I was thinking it was Moondoc. My apologies to Charles Tyler (who also occupies a fair amount of shelf space in my collection). This tune is a bitch. Reminds me a lot of Billy Bang's Saigon Phunk, except THAT is Frank Lowe at his [in my opinion] expressive best.

I dare say I did better as this went on. Track 1 - I like the islandy feel of this. Arranger is not revealing himself to me. It’s not anybody I would be expecting it to be, but the overall feel suggests to me that it’s somebody I’m probably familiar with in another setting and that this is an anomaly among their output. I really want a solo here, but this would be great to have on in the background at a party. Terrific arrangement. I also enjoy that the musicians seem to be enjoying themselves, though when the pianist takes the soli s/he reveals themselves to be less accomplished as a soloist. Band is tight, though. I’m sure I’m insane, but I swear I hear Norris Turney’s lead in there. Track 2 - That vamp had me wanting to here, “It’s quarter to three…” Still has that melancholy feel. Nice. That tenor is very recognizable to me. A touch of J.R.? Not him. Don’t recognize the trumpet, great facility, though. Aw, man! No tenor? Track 3 - I like the reggae/tuba mix. Horns are sloppy-ish (in a good way). I know when you first played this for me my guess was Ahmed Abdullah. I’m still leaning there, even though I know that’s not the case. Those hyper-compressed drums have not grown on me. The melody doesn’t excite me, but the feel is grooving. My initial thought was Moondoc, but that’s most certainly not him on alto; someone much more inside. Oh-for-three, damnit! Track 4 - Killn’ bari tone. Terrific ballad. Want to say I know the song, but I think I’m lying. Piano solo wanders a bit, but overall is solid. This dude is a BEAST! I dug deep on this, I don’t have it, and that irritates me. I feel like I know this guy, but I dare not guess. Track 5 - Tasty… right up to the entrance of the guitar. Awful lot of chorus/reverb on that guitar. Love the feel of the rhythm section, though. Guitarist seems to be leaning on more of a “blues” feel. I know you’ve been on an Ed Cherry kick, but I’m not familiar with him. The niceness has worn off and my focus is wondering. It went right past my head. Track 6 - Don’t know what the record is, but that sure sounds like Lucky to me. You’ll hate me for this, but the first verse brought me directly to the scene in Cool Hand Luke with Harry Dean Stanton playing and singing on the steps to the barracks as Luke is “get[ting his] dirt out of Boss Kean’s ditch.” Fun song and I feel like I may have finally semi-gotten one. A little sleuthing tells me it’s from this. Track 7 - Transition to the solos the drums have that Roy Haynes snap, but that’s not who/what it is. Trumpet player loves Miles. Tenor sounds like Rouse at times and like Kamuca at other times. Another terrific arrangement. Track 8 - There’s Moondoc! “I is a artist!” It’s track 8 from this. Track 9 - Bass and bass — what more could you ask for? Closing track from this stellar LP. Track 10 - [In Bob’s laugh] AHAHAHAHAHA!!!! Track 11 - Bass flute! That sure narrows down the options. It’s not Richard Gardzina, so the obvious guess is gone. Nice ballad, no clue who. Track 12 - Nice, laid back feel for rhythm section. Tenor is a bit raw, but still inside. Not sure how I feel about him. In fact, I find it odd that you like him, as he’s more down my alley, but he’s slightly missing for me. Teases with being Tyrone, but not him. Track 13 - Ah, nice. I actually included this on one of mine awhile back. Rufus! My man! I have this on one of those boxes. Private Collection: 1968, I believe. Well played, fam.

Well, since Felser has posted his reveal, I'll start up the discussion for my Dad's bft. I need to get to his house to make sure he's setup to access the discussion (my guess is that he is, but I want to make sure he's comfortable with accessing the discussion). Meanwhile, you can access the test here: http://thomkeith.net/index.php/blindfold-tests/ Just know he won't be providing feedback for a few days until I get up to his house to make sure he's able to get in.

Egad... been in a listening rut... I actually own TWO of these that I did not ID. Sad, OJ... sad.

Lucky snow day! I get to do a BFT! Track 01 - Hmmm... no idea what this is. I go through periods where I listen to stuff like this (I'm in one right now), but I'm kind of particular about it. Not sure how this one strikes me. Track 02 - Rhodes -- I'm in. A bit freaky on the headphones, but I'm diggin' it. I kind of feel like this is what Kamisi Washington *wants* to sound like. This is a great feel and driven by the period (I'm assuming early/mid-70s). It's neither Gene McDaniels nor Bill Withers, but in the vein of both. I'm all in on this one. Track 03 - My first thought was Michael White, but no. Then I was leaning Billy Bang, but the sideman aren't there. Seems too pure to be Urbaniak. I'm now thoroughly confused. That electric bass is awful but I want to hear more of the violin, and the overall feel is smack on. I'm in, but I can't ID. Track 04 - This tune is reminding me of another tune, but I can't place either. Tough getting old. This is my ideal quintet setting. I'd prefer acoustic piano, but if you HAVE to go keys, it HAS to be Rhodes. Stand-up bass would make me happier, but again, this feel is killin'! Tenor player is a later guy, but with ties to the hay day. He's got those lines down, but he ties them together with meaning and he's not afraid of being non-technical. Sort of like a ballsier Eric Alexander. Rhythm is spot on or I'd go Jimmy Heath. Could almost be The Crusaders, except I think the musicianship across the board is a tick higher, and that's a statement. Man... you are going to cost me MONEY!!!! Telling my mother-in-law to make it Amazon and iTunes gift cards! Just when I think I've got most everything I want, you damned guys cost me MONEY!!!! The tenor reminds me a bit of Fathead, but I say he's newer. I need this. Track 05 - Please say that's not sopranino... I mean, I like this, but if it's that, I won't be able to deal. Nope. Just the shrillest soprano, ever. Hence the nickname "the unemployment stick". I'm all in, in spite of that. Can't remember the last BFT that hit on all cylinders for me... though, it was probably your last one! This is clearly a tenor doubler, but which one? No clue. Seems too early for this, but I'm going to guess that Oscar Brashear (already been wrong about him once on this test -- more on that later!). Where ARE all *these* trumpet players!?!?! Everybody I encounter seems to have consumed the Wynton Kool-aid. Be brassy, aggressive and proud, damnit! This is the sort of thing I would sometimes get on the radio as a kid. I was so cool I'd spend my Friday nights alone, lights out, in my room, stone sober digging this stuff with a Sprite. Those hyper-compressed drums are a bit off-putting, but otherwise, more money leaving my wallet. This has a feel very similar to some of Harold Land's 70's stuff, but these guys seem younger than that. Track 06 - I recognized this tune, instantly, as Is It Not True Simply Because You Cannot Believe It, but also realized I didn't have the version (MORE MONEY!!!!). Billy Harper was obvious, but I had to sleuth to find it, so I'm not claiming identification, here. I *did* however, immediately buy it. Billy remains "my" guy. I've heard people talk about other musicians who are always "in the moment," for me, that describes Billy to a T. Ego? Sure. Sometimes a bit difficult? If the stories are true. Complete bad ass? AbsoLUTEly! Always surprised (and a bit grumbly) when I see someone mis-ID'd as him. To me, he's just so damned unique. I don't think there is a safer bet than purchasing a Billy Harper album (perhaps excepting Jon & Billy, and Blueprints). Even the vocal album works. This was my mistaken Brashear ID (in a PM to Felser). I still do not have a better guess. I surely wish Billy would put out a book of his tunes. He had that option advertised on his site about 8 years back, and I contacted him with a list. Never heard back. Not sure what the breakdown was, but man, this stuff needs to be PLAYED! Glad recordings like this and The Cookers are actually making that happen. Track 07 - Sure sounds like William Parker, right off the bat. Nope. Too much production. Love it, though!. Man! What's not to love? You've got vibes, reverb flute, a bitching groove, tasteful drums (Marc Edwards?). Man! Felser! We gotta HANG! BITCHIN'! This is the kind of thing makes me wanna PLAY! Gotta share this with Tim Webb! Man... this gets better as it goes! Could be Khan Jamal. I could do this all day long... MORE! Track 08 - Why, hello, Billy. I was leaning Mike Westbrook's arranging, but that's out the door. It's not Gil's band. Not Tolliver. Unless it is MM, again, it's almost GOT to be Barney McAll. The feeling of seeing/hearing Billy in person the first time... can't describe it. Literally nothing else like it. Chills. Warmth. Euphoria. And that was the bleedin' sound check! (Priestess) Wait... not McAll... not enough keys. Gotta be another Mark Masters project. And, DAMN IT ALL, I don't have it. GRRR!!!! Track 09 - Ibrahim meets Santana? Sure sounds like Carlos. Literally nothing in this world makes me happier than Latin music. When anybody hears guitar like this, how do they possibly listen to the shit that's on the radio. Sad, OJ... sad. Track 10 - Tarrentino! There was a band in these parts playing this sort of stuff (not quite to this level) called The Cadillac Hitmen... they'd arrive at their gigs in this big, red Cadillac El Dorado (I believe). Then they'd blow your face off with three hours of this stuff. Oddly, it always worked. It does so again, here. Could this possibly be a Zorn project? Track 11 - Somebody newer, who owes a LOT to Woody Shaw. The tenor is definitely post-Brecker. The notes are right, but a bit too clean. Could be Bergonzi, actually. I like the trumpet, but I'm unsure how he'd hold up over numerous songs. He's "studied" his Freddie Hubbard and Woody Shaw, for sure. Drums are busy, but in a good way -- they're making this work. Not Gonz. Out of that school, though. Not particularly individual, but I'd guess Berklee or NEC. Track 12 - I'm guessing the same as #2. Still don't know. Still in. I want MORE of this. Track 13 - No idea, but haunting and powerful. It'll be alright, my brother. Man... you are spending my MONEY! Good gravy! How the hell did I miss #8! On the bright side, I can save a few bucks -- I own it!!!!

Sorry for the delay in participation. Ordinarily, I listen at work, but I can't stream there without causing major issues. Track 1 - Love the energy of this right off the bat. Seems older than this, but the trumpet reminds me of Rod McGaha. Whomever it is, they are a fan of Mr. Cherry. What I like about this is, the drums keep up their part, they don't just go crazy when others break off. Because of that, it maintains its musicality. Love that beefy tenor. mjazzg had it right... this is going to be an expensive listen. Track 2 - Really not a fan of the instrument, but this guy is for real. I'm going to throw out a hairbrained guess of Jimmy Giuffre because every time I hear something by him, I manage to be surprised. Like the left hand in that piano, as well. Drummer seems to be from a different area of the music. He's trying, but it's not quite clicking. When it's just him, it's okay, but as part of the unit, doesn't quite click. Track 3 - Rhythm-a-ning. Really difficult to hear the bass on this. Trumpet player is working. Alto player seems just a tick off of top tier in terms of his attack. That's not meant as a criticism so much as an attempt to classify the player for identification. Seems to scoop the notes a bit. S/he is working very hard, but not getting quite the same degree of success from it as the trumpet. Oh, there we ago -- about 5:05 s/he finds it. No idea who this might be, but this would be a good night to be in the audience. And, by the sounds, I would have lots of space to relax. *sigh* Drum solo has it. Track 4 - Like this a lot. Again, a tick off in terms of attack, but thoughtful, in that Frank Lowe way. Articulation is a bit thick and chunky at times, but this cat means it. Nothing here to not enjoy. I can't peg these players, though. One minute, sounds like Father Hines, the next minute, sounds like the Amazing Hasaan. This is out of left field, and really throws me for a loop, but that bassist sounds like John Lockwood. I should know this tenor. That sound is too damned familiar. Track 5 - I had a lot of hope for this early on, but it's going in a different direction than I'd hoped. Creative and original, but my mind was ready for another direction and I feel let down. Track 6 - In context (as a break in a live set) I would appreciate this a lot more. Here it just seems to be sort of out of place and part of a bigger picture. Alone it just doesn't seem to work. Track 7 - I'm a sucker for bass. Totally in on this one from the get go. This reminds me a lot of Francois Rabbath's stuff. I love it. Well now, that certainly sounds like Frank Lowe. Nope... too busy. I'm loving it, though. Yeah, I could listen to this all day. 'Bone seems more versed in the tradition than the rest of the band feels... hearing a lot of Curtis Fuller lines. I love the way the piano is used here. A distinct voice contributing to the ensemble, but not having to be a "piano". Track 8 - I like this, but it seems like I would like it's influence more. Nods to Sun Ra, Kenton, and Clarke-Boland, but doesn't hit me as strong as any of them. Interesting and obviously a top-notch band, weaving in and out of one another, but doesn't seem to quite match the creativity of those sources, somehow. Interplay between the alto and the trombone is right there, though. Can't figure out if this is avant gardists playing inside, or inside guys trying to be out, or what... but it doesn't feel quite right... making it quite probably European. <smile> Oh, listen to the size of that audience! DEFINITELY European! Track 9 - Yeah, this one is more like it. They're doing what I was looking for the last one to do. I can't put it into words, but this is where it needs to be; got the feeling the last one never quite got there. Definitely need this in my life. Track 10 - Less appeal in this one, but no less appreciation. Again, live, this would be striking. Track 11 - Yum! It's a doubler. Sax is the main instrument (seems only sax players get that fat flute sound). This reminds me a lot of Shepp's Miriamar, just has that great, organic feel to it. All in. Not sure who we are dealing with, but I'm getting an idea for a new project! Track 12 - I want to like this way more than I do. It's like if Hawk tried to play out. Or if Frank Wright tried to play in. Unfortunately it's neither of those things, so it's just missing for me. I appreciate what it's wanting to do, but the execution is just not quite there. A variety of stuff here, most of which I want to hear again, some of which I HAVE to possess. Thanks!